/SG_New_Acquisitions_catalogue

New Acquisitions

New Acquisitions 5 – 29 January 2011

The Scottish Gallery 16 Dundas Street, Edinburgh EH3 6HZ Tel 0131 558 1200 Email mail@scottish-gallery.co.uk www.scottish-gallery.co.uk

Front cover: James Morrison Tenement, Partick 1959

Craigie Aitchison CBE, RA (1926-2009) Crucifixion oil on canvas 112 x 107 cms Provenance Private Collection, Edinburgh Aitchison was born in Edinburgh and attended Loretto school. His father was a Law Lord and the first socialist Advocate General in Scotland. Craigie pursued the law, from Edinburgh to the Temple, but recognized that his real calling was art. He attended classes at the Slade where he made a lifelong friend of Ewan Uglow. His work became instantly recognizable for both its subject matter limited to “black people, dogs, religious pictures and still lives” (his own summing-up) and also the exuberant or cool colour grounds in which his subjects floated. His pictures are always poignant and can deliver strong emotion. The crucifixion was a favourite motif about which he said: “They were all ganging up against one person. As long as the world exists one should attempt to record that. It was so unfair.”

Crucifixion was commissioned from the artist by the Scottish Chamber Orchestra in 1995 to coincide with a new composition by Edinburgh-based Icelandic composer Haflidi Hallgrimsson also called Crucifixion. The two artists discussed the common subject and the painting was shown at the concerts in which Hallgrimsson’s work was premiered. The first performances took place in the City Hall, Glasgow and Queen’s Hall, Edinburgh where the Scottish Chamber Orchestra was joined

by Finnish conductor, Sakari Oramo. This collaboration was one of four undertaken by the Scottish Chamber Orchestra where composers were partnered with artists from other disciplines to work on a common idea. The others involved artists working in dance, sculpture and literature.

Elizabeth Blackadder DBE, RA, RSA, RSW, RGI (b.1931) First Anemone 1977 pencil and watercolour 29 x 29 cms signed and dated lower left Provenance Private Collection, Fife Elizabeth Blackadder was born in Falkirk in 1931. She studied at Edinburgh College of Art from 1949 until 1954 under Robert Henderson Blyth and William Gillies and enjoyed travelling scholarships to southern Europe and Italy. In 1956 she married artist and fellow Scottish Gallery exhibitor John Houston and began teaching in Edinburgh. One of Scotland’s greatest artists, she is as well known in London, chiefly through her membership and long commitment to the Royal Academy. Blackadder was also appointed Her Majesty’s Painter and Limner in Scotland in 2000 and DBE in 2003.

Blackadder is perhaps best known for her lyrical yet precise flower paintings which have become highly collectible. Her mastery of watercolour captures the delicacy of her subject. As the paint dries the pigment collects at the outer edges of the petals. Her observations of flowers are almost scientific in precision, yet they are used as formal elements in a carefully constructed composition. The objects and flowers are placed close to the picture plane against a flattened background. This creates a visually exciting interplay between the three dimensional objects and the two dimensional space they occupy.

Robert Colquhoun (1914-1962) and Robert MacBryde (1913-1966) Waulking Woman coloured ink 37.5 x 25 cms inscribed with title upper left and signed lower right Provenance The Redfern Gallery, London; Sir Peter Pears; The Fine Art Society, London; Private Collection, Fife This drawing by Robert Colquhoun and MacBryde was created for the 1951 ballet, Donald of the Burthens. In 1949 Leonid Massine, the celebrated Russian choreographer, asked the Roberts if they would design the costumes and sets for the forthcoming production to be performed at the Royal Opera House in Covent Garden. Although they were mistrustful of commercial work this commission in particular appealed to the Roberts’ sense of nationalism. The story, a Faust like tale, was set in medieval Scotland. It followed Donald, a hardy wood cutter who sells his soul to the Devil in exchange for magical powers. It opened on December 12th 1951 to considerable critical acclaim, for the costumes and sets as well as the ballet. The practice of artists designing for the stage was a well established tradition; Massine had worked with Picasso on a previous production in Paris.

This striking image is of a ‘Waulking Woman’ seen in a heavily stylised form of Highland dress.

Although an original design for the theatre, Colquhoun and MacBryde have not focused their attention on the physical qualities of the costume, the way in which it will be worn or made. But rather have concentrated on creating an image with great formal and expressive power. This drawing was bought from the Redfern Gallery in 1951 by the eminent opera singer Sir Peter Pears.

Colquhoun and MacBryde were the subject of a major retrospective at the Scottish Gallery in March 2010, which coincided with the first full length biography of the artists, entitled The Last Bohemians by Roger Bristow. After both artists’ premature deaths, stories of their wild and excessive lifestyle have been in danger of eclipsing both men’s artistic merit. The biography and the exhibition sought to restore these two artists in their rightful place, as two of the most progressive British artists of the 20th century.

Joseph Crawhall RSW (1861- 1913) The Hansom Cab watercolour and bodycolour 23.5 x 31 cms signed lower right Exhibited Glasgow Art Gallery, Exhibition of a Century of Art in Glasgow 1835-1935, 1935 Ex Collection Sir Thomas Dunlop A close friend of the Glasgow Boys, Joseph Crawhall was a renowned painter of animals.

He abandoned oil painting in the mid-1880s, preferring the medium of watercolour in which he excelled. Through keen observation he developed a fluent, almost calligraphic way of painting, where the image is created using as little brushstrokes as possible. In the darkness of the evening, Crawhall uses jewel-like flashes of colour to depict the light falling on the cab, horse and the female figure’s hat.

Crawhall never dated his paintings and often exhibited works several years later. This watercolour was probably bought in 1894 from one of only two one-man exhibitions of Joseph Crawhall’s work at Alexander Reid’s gallery, La Societe des Beaux Arts, 124 St Vincent Street, Glasgow. Reid was the doyen of Glasgow dealers selling major Scottish and European paintings to the wealthy merchant classes.

The Hansom Cab was acquired by Sir Thomas Dunlop who was the founder of Glasgow shipping company Thomas Dunlop and Sons, and became Lord Provost of Glasgow in 1914.

Ian Fleming RSA, RSW (1906-1990) Hopeman 1957 watercolour and ink on paper 42 x 55 cms titled and dated lower right Exhibited Ancrum Gallery, Roxburghshire (Cat no. 35) Ian Fleming was a painter and engraver of great distinction and played a critical role in the world of Scottish art throughout the 20th century. Trained at Glasgow School of Art 1924-29, he later taught there and was one of the first to recognise the talents of young Robert Colquhoun and MacBryde – who also feature in this exhibition. He is fondly remembered in his role as Principal of Grays School of Art in Aberdeen, a post he held from 1954 till 1971. This pen and wash drawing was made during his first few years at Grays, when Fleming managed to escape the city and explore the surrounding countryside.

Hopeman is a small and charming village on the coast of the Moray Firth.

Joan Eardley’s Catterline paintings of the 1950s captured one aspect of Scotland’s East Coast.

Her paintings which serge with tempestuous energy could not be more different than Fleming’s tonal studies which primarily focus on the relationship between man and nature. An engraver at heart Fleming’s eye is arguably more adjusted to finer differences in tone rather than colour. In this work Fleming reflects upon the similarity between the cliffs in the foreground and the sheer walls which encircle Hopeman’s busy harbour. The perspective of the drawing, viewing the scene from an elevated position pays homage to Breughel, an artist whom Fleming held in great regard.

Sir William Gillies CBE, RSA, RA, PPRSW (1898-1973) Kylesku 1934 watercolour and pencil 21.5 x 35 cms signed, dated and titled lower right William Gillies is regarded as one of the most important Scottish artists of the twentieth century. In a long career as a teacher and professional artist, Gillies gave equal weight to the importance of both oil and watercolour in his practice. This was to have great effect on his contemporaries and his pupils, perhaps most notably Elizabeth Blackadder who continues to work in watercolour today.

Gillies was able to respond to a landscape quickly, recording in broad strokes the shifting light and weather conditions of the mountainous coast. Travelling around the Scottish Highlands on painting trips in the 1930s, he found watercolour to be the ideal medium for producing quick and atmospheric paintings. As they were painted in the open air and in all weathers, Gillies’s watercolours are generally more naturalistic than his oil paintings. They depict effectively the transient effects of light and movement in the landscape. In Kylesku, forms are suggested not only by his use of line but also in the streaks or cold blue paint that render form and capture the shadow as it creeps round the mountain.

The inspiration in his work derived from the endless variety he found in his subject matter and in particular landscape which for him was an unequalled source of joy and inspiration: “I have always enjoyed weather; always seen landscape pictorially, and I’ve got an immense satisfaction in recording in line and colour the fugitive, the subtle and the grand in nature.”

Sir William Gillies CBE, RSA, RA, PPRSW (1898-1973) Fearnan, Loch Tay pen and ink wash 31 x 36.5 cms signed lower right Exhibited Edinburgh, The Scottish Gallery, Retrospective Exhibition of Watercolours by WG Gillies, no.36, 1963 Gillies’s friendship with Adam Bruce Thomson and the MacTaggart family led to working holidays in Perthshire, at Fearnan on Loch Tay. He stayed at Fearnan in the summers of 1932 and 1934, each time creating clusters of work that depict the Perthshire landscape shortly after the harvest.

Sir William Gillies CBE, RSA, RA, PPRSW (1898-1973) Anstruther Harbour watercolour 25 x 35 cms signed lower left After the Second World War, the coastal fishing villages of Fife became a favourite destination for Gillies with repeated visits made from the late 1940s and through the 1950s to Pittenweem and Anstruther. Whilst there he and his companions camped in the grounds of Kellie Castle, home of the sculptor Hew Lorimer.

Charles Hodge Mackie RSA, RSW (1862-1920) The Bassano Bridge, Bassano del Grappa, Italy c.1910 coloured woodcut 51 x 52 cms signed and dedicated to Arthur Wilson 16/1/15 lower right Charles Hodge Mackie was born in Aldershot and moved to Edinburgh in his early childhood. He is an artist who is notoriously hard to categorise in relation to British art of the time due to his catholic range of influences.

In 1892 he and his wife Anne travelled to Brittany where Mackie famously befriended Gauguin and Serusier. In 1893 Mackie was working from a studio in Rue Bara in Paris. He would have been conscious of the new developments in Post-Impressionism as well as the significant reception of Japanese art and curios which were arriving in France towards the end of the 19th century. Mackie’s continued friendship with Gauguin and the discovery to Nabi art was especially important in his development of his woodblock printing technique and method. All of Mackie’s prints were first based on a watercolour study. He then stencilled the lines of the watercolour to a wooden block which was then cut. Bassano Bridge was made using 14 blocks. Mackie first experimented with blocks of cut linoleum, but following discussions with Gauguin he started to use Japanese oak blocks, imported directly from the East.

The Bassano Bridge or Ponte degli Alpini was designed by Andrea Palladio in 1569. Mackie has evident interest in the geometrical structure of the bridge, and has chosen a particular perspective to heighten the bridge’s striking architecture. The strong spatial lines of the bridge are then complemented by other formal elements including the two boats in the foreground and the diagonal beams in the top right of the composition. Mackie also experiments with the effect of light on different surfaces, most convincingly on the dappled light on the water’s surface. Mackie was in fact the subject of a major show at the Scottish Gallery in 1987.

Charles Hodge Mackie RSA, RSW (1862-1920) The Bluebell Wood coloured woodcut 20.5 x 26 cms Provenance Lyon and Turbull Inventory no.16, March 2003 Mackie has focused primarily on richness of colour in this image and has used washes of blue, in varying intensity to recreate the impression of a carpet of bluebells. The juxtaposition of blue and red creates an image with great concentration of colour. The deep red shadows convey a feeling of warmth, and stillness. The colour which Mackie used to make his prints has an appearance not unlike watercolour and was created using a small amount of lavender oil; a method Mackie believed gave a greater depth of tone.

The Scottish Gallery has a long and involved history with printmaking. The gallery used to have a specialist print department, headed by Iain Barnet which only closed on our move to our current premises in 1993.

John Houston OBE, RSA, RSW (1930-2008) Yellow Roses 1976 oil on canvas 23.5 x 23.5 cms signed lower right and inscribed with title and signed verso Provenance Private Collection, Fife John Houston had his first show at The Scottish Gallery in 1960. His second outing was for the Edinburgh Festival in 1962 when he replaced Gillies who postponed his own show until the following year; it was a commercial and critical triumph which launched his career and made his reputation.

He sold over 100 works at the exhibition, a performance he was to repeat with his Festival show with us in 2003. He loved still life and in the 1970s produced many rose and poppy pieces, often with dark backgrounds, in richly worked oil paint and strong colour. This small, perfect example was made with roses from the garden at Queens Crescent in the long, hot summer of 1976.

John Houston OBE, RSA, RSW (1930-2008) Stormy Day Orvieto watercolour 28 x 43 cms signed lower left In 1953, Houston and his great friend David Michie were recipients of Andrew Grant Travel Scholarships from the Edinburgh College of Art. That October they set off for Italy via Paris and spent three weeks in Orvieto over Christmas. Before this six month trip, Houston had barely spent a couple of days at a time outside Scotland so this adventure was his first real taste of independence. Working throughout a particularly harsh winter in Orvieto there is substance and solidity in his depiction of the town through a high window, under a bleak grey sky.

George Leslie Hunter (1879-1931) Street Scene, Antibes c.1924 pastel and ink 26.5 x 20.5 cms Hunter produced much more on paper in the last ten years of his life than in oil. He was leading a peripatetic life moving from the South of France to London and Scotland in search of inspiration and the practicalities favoured drawing and watercolour. He was supported by his friend Tom Honeyman, then a partner in Reid and Lefèvre, but who was more than once disappointed to receive a package of works on paper for a planned exhibition of new work. But these vigorous and spontaneous drawings with crayon or watercolour are some of the most vivid, successful works of the artist’s maturity.

Hunter worked in Nice, Villefranche and here in the Antibes. This is perhaps one of the works entrusted to Willy and Denis Peploe for delivery to Lefèvre in London on their way back to school at the end of the summer holidays from Cassis in 1924.

George Leslie Hunter (1879-1931) Two drawings Both these drawings were executed in Paris. Hunter would sit in the front of a cafe, always sketching on scraps of paper anyone or thing that intrigued him. The nervous energy in his pen work is not obscured by overwork and the excitement the artist feels at work is clearly communicated.

The figure in Serenade is strongly reminiscent of the female protagonist in Edouard Manet’s Bar at the Folies-Bergère 1882. According to TJ Honeyman, while Hunter was sympathetic to new developments in art, he did not have a great appreciation of the Post-Impressionists, such as Cezanne and Gauguin but preferred to look back earlier, to Degas and Manet.

Left: Serenade pen and ink 27 x 19 cms Above: Bohemian Figure pen and ink 20 x 12 cms

George Leslie Hunter (1879-1931) Ceres pencil, ink and watercolour 11 x 18.5 cms In the early and mid 1920s Hunter spent much of his time painting in the countryside and villages of Fife. His combination of strong, inky black lines with accents of intense colour create a vibrant scene and focus our attention on the bustling scoolchildren in their blue uniform while the bright orange wash of paint on the roof in the foreground unmistakably locates the painting as Ceres.

Sir William MacTaggart PPRSA, RA, LLD, FRSE, RSW (1903-1981) House Through The Trees watercolour 51.5 x 66 cms signed lower left Born in Loanhead, Midlothian, MacTaggart was the grandson of the artist William McTaggart, the leading Scottish landscape painter of his generation. MacTaggart studied at Edinburgh College of Art from 1918 to 1921, returning there in 1933 to teach until 1958. His work was much influenced by the work of Edvard Munch, notably changing after the Munch exhibition at the Society of Scottish Artists in 1931. He also admired the work of French artists such as Georges Rouault, whose use of colour to express emotions particularly inspired him. MacTaggart was President of the Royal Scottish Academy from 1959 to 1964.

Trees were always a favourite subject for MacTaggart, so different through the seasons and a monumental natural phenomenon. The autumnal colours here are dense yet subtle and his style of painting shows a looseness of handling as the scene is formed with confident, rhythmic brushstrokes.

James Morrison RSA, RSW (b.1932) Tenement, Partick 1959 oil on canvas 71 x 91 cms signed and dated lower left To lovers of James Morrison it might come as a shock to see this city scene, his name now synonymous with tumultuous skies, rolling Angus farmland and the rugged landscape of the West Coast. However, Morrison has not always been a landscape artist. A native of Glasgow, Morrison studied at the Glasgow School of Art from 1950-54, before moving to Catterline to pursue his love of the outdoors. In 1953 he began to record, with anger as well as affection, the city in which he lived and the changing face of its urban architecture. In these paintings we see Morrison’s social conscience.

He captures Glasgow honestly, driven by a need to document the degradation which surrounded him.

In his own words: “I wanted to make some sort of comment on society and the city in which I lived…”

This building in Partick was close to where Morrison had a flat, although by the time of the painting’s execution he had moved out the city and was travelling back frequently to paint. The building, biscuit in tone, is diffused with spindly birch trees in front, which echo of a lost prosperity.

Autumnal leaves, rendered in quick orange brushstrokes punctuate the building’s monochromatic facade and add warmth against the grey backdrop. The windows that remain are illuminated by the overcast sky.

In capturing these scenes of social decay Morrison documented a part of Scottish heritage in danger of being forgotten. This painting stands testament to Morrison’s prolific career in which he has captured the full spectrum of Scottish geography. It shows no sign of slowing down and he will be exhibiting in the gallery in 2012.

SJ Peploe RSA (1871-1935) A Street in Paris 1910/11 oil on panel 26.5 x 35 cms signed lower right inscribed ‘Paris, 1911’ verso A Street in Paris is painted on a board from the Paris American Art Club, an artist’s materials shop in Montparnasse and bears the date 1911 on the verso. This date was written on much later and cannot be relied on without question since the same hand (quite possibly the artist’s) wrote the same date on several Cassis pictures which we know belong to 1913. This said the picture will be no earlier than 1910 and not later than 1912, by which time the Peploe family had returned to Edinburgh. It was acquired by the painter AG Sinclair and his wife Louie, quite possibly as a gift from the artist and lent to the Scottish Gallery memorial show in 1936. After this the Sinclairs gave the picture back to the artist’s son Willy, whence it has come by descent. It was rediscovered only earlier this year at the bottom of a trunk.

It is a perfect example of Peploe’s Paris street scenes: full of energy, painted in the fullest expression of his Impressionist technique, akin to the Royan paintings of August and September 1910. The atmosphere is palpable in the sheer energy of the paint and brilliant colour. It is perhaps a small square or intersection of Boulevard and Rue and we can imagine café diners under the awnings protected from the heat of the afternoon.

SJ Peploe (1871-935) Three drawings Provenance Private Collection, Perthshire Exhibited Scottish National Gallery of Modern Art Peploe’s first son Willy was born in Royan in August 1910 where the family was on holiday from their Paris home at 278 Ble Raspail in Montparnasse. They had arrived in April but the city was recovering from the great flood of January and could have been unbearable for Margaret in the summer months.

Home in the Autumn was a tiny studio apartment with a gallery from where Peploe looks down on his wife and baby, now able to sit forward on his mother’s knee. Peploe produced only a few studio compositions and was always out in the parks and streets, observing the everyday activity of the great city’s cast of characters. As well as many conté sketches he also used colour washes and flicks of oil colour in a series of street scenes which were always intended for exhibition. He showed fifty in a show of drawings at the Stafford Gallery in London in June 1912 which drew good critical notices.

The flower sellers provided several works including this and another illustrated on page 32 of SJ Peploe (Guy Peploe, Mainstream 2000) where ink and a brush are preferred to conté crayon.

The third features three ‘gendarmes à bicyclette,’ each surveying a different direction and a young curé reading a broadsheet; brilliant, swift drawings bringing time and place to life.

Mother and Child conté and oil on paper 20.5 x 15.5 cms

The Flower Market conté and gouache on paper 11.5 x 17.5 cms Police Patrol conté and gouache on paper 13.5 x 21 cms

Sylvia Wishart RSA (1936-2008) Cottage Interior mixed media 60 x 90 cms The interior was a favourite subject of Wishart here relatively uncluttered with the paraphernalia of her life but featuring an oil lamp (electricity only came to Orkney in 1947), a simple jug and a Wally Dug on the end of the mantelpiece. The rough texture of the wall and stones of the fireplace, the fabric on the sill and the hanging net give a reality to the interior which speak of a simple life but with its own aesthetic character.

Wishart was an Orkadian who always painted and encouraged by artist and poet friends she became a mature student at Grays School of Art. She then taught in Aberdeenshire, Lewis and Orkney before taking a position at Grays and finding a cottage on the Ythan Estuary at Howe of Tarty. It is with Orkney that she is most associated and most of her work is still on the islands. She had a studio initially on the pier at Stromness, which became the Pier Art Centre to house the collection of her great friend Margaret Gardiner. After a major refurbishment the gallery reopened with a Wishart exhibition in 2007. Her home was at Heatherybraes looking over Hoy Sound and St. John’s Head: a vista of fields, shores and distant cliffs which was her favourite subject.

Aleksander Zyw Italian Landscape 1949 oil on canvas 63 x 75 cms Provenance Artist’s Estate Aleksander Zyw was born in Lida, Poland before moving to Warsaw at an early age. He enrolled in the Warsaw School of Fine Art in 1926. A travel bursary in 1934 was to have great effect on the young Pole, not only did it give him a taste for life outside of Poland, but it started a love affair with the Mediterranean which was to last a lifetime.

This painting of Monte Castello in the Provence of Alessandria was painted in 1949, on Zyw’s first trip to Italy since 1939. The War had had a major effect on the development of Zyw’s art. It was not his experiences as official war artist to the Polish Armed Forces which were to change him the most, but the news of the horrors and atrocities which had befallen his homeland and family. In the period that directly followed the war Zyw battled to come to terms with the weight of his feelings, and in many ways used his painting as a channel for his grief. This period of dark expressionist painting did not last and one can view this trip to Italy in 1949 as a pivotal moment in Zyw’s rehabilitation as a painter.

Zyw has chosen a classical composition; the tree on the left leads the viewer’s eye into the canvas and upwards towards the distant hilltop. Although conventional in perspective, the same cannot be said about the execution. The paint is applied predominantly thickly, although naked canvas shines through in parts, a technique Zyw used in his pre-war landscapes to heighten the representation of bright sunlight. He uses short brushstrokes applied quickly to the canvas in an effort to recreate the essence of the scene, rather than its particular details. The distant mountain is executed with crude blocks of colour, with highlights of yellow and red painted in thick expressive strokes. There is a vibrant texture to the painting, created by the small brushstrokes of intense colour. His juxtaposition of reds and greens creates a vibrant picture surface, which echoes the concentrated colour schemes of the Post-Impressionists. The trees are represented as crude swirls of black and red paint. He has created a landscape of decoration, accentuating and simplifying certain aspects of the geography for stylistic effect. This idea of decoration was to become particularly important for his work of the 1950s.

Zyw arrived in Scotland as a soldier in 1941 and had his first solo exhibition at the Scottish Gallery in 1945. He died in 1995 at his home in Castagneto Carducci, Italy.

This painting was probably exhibited under the title Italian Landscape as part of his Festival Exhibition at The Scottish Gallery, August 1950.

Published by The Scottish Gallery for the exhibition New Acquisitions 5 – 29 January 2011 Exhibition can be viewed online at www.scottish-gallery.co.uk/newacquisitions ISBN 978-1-905146-49-9 Designed by www.kennethgray.co.uk Printed by Stewarts All rights reserved. No part of this catalogue may be reproduced in any form by print, photocopy or by any other means, without the permission of the copyright holders and of the publishers.

16 Dundas Street, Edinburgh EH3 6HZ Tel 0131 558 1200 Email mail@scottish-gallery.co.uk Web www.scottish-gallery.co.uk

New Acquisitions 5 - 29 January 2011 Catalogue Price List

Craigie Aitchison CBE, RA, (1926-2009) Crucifixion oil on canvas 107 x 112 cms

POA

Elizabeth Blackadder DBE, RA, RSA, RSW, RGI (b.1931) First Anemone 1977 pencil and watercolour 29 x 29 cms

£3,500

Robert Colquhoun (1914-1962) and Robert MacBryde (1913-1966) Waulking Woman coloured ink 37.5 x 25 cms

POA

Joseph Crawhall RSW (1861-1913) The Hansom Cab watercolour and bodycolour 23.5 x 31 cms

£25,000

Ian Fleming RSA, RSW (1906-1990) Hopeman 1957 watercolour and ink on paper 42 x 55 cms

£1,750

Sir William Gillies CBE, RSA, RA, PPRSW (1898-1973) Kylesku 1934 watercolour 21.5 x 35 cms Fearnan Loch Tay pen and wash 31 x 36.5 cms Anstruther Harbour watercolour 15 x 24 cms

£4,500 £8,250 £4,800

John Houston OBE, RSA, RSW (1930-2008) Yellow Roses 1976 oil on canvas 23.5 x 23.5 cms Stormy Day, Orvieto watercolour 28 x 43 cms

£2,800 £1,750

George Leslie Hunter (1879-1931) Street Scene, Antibes c.1924 ink and pastel 26.5 x 20.5 cms Serenade pen and ink 27 x 19 cms Bohemian Figure pen and ink 20 x 12 cms Ceres pencil and watercolour 11 x 18.5 cms

£14,500 £3,500 £1,850 £2,500

Charles Hodge Mackie RSA, RSW (1862-1920) The Bassano Bridge, Bassano del Grappa, Italy 1910 coloured woodcut 51 x 52 cms The Bluebell Wood coloured woodcut 20.5 x 26 cms

£3,750 £1,000

Sir William MacTaggart PPRSA, RA, LLD, FRSE, RSW (1903-1981) House through the Trees watercolour 51.5 x 66 cms

£3,750

James Morrison RSA, RSW (b.1932) Tenement, Partick 1959 oil on canvas 71 x 91 cms

£9,750

SJ Peploe RSA (1871-1935) A Street in Paris 1910/11 oil on panel 26.5 x 35 cms Mother and Child conté and oil on paper 20.5 x 15.5 cms The Flower Market 1911 conté and gouache on paper 11.5 x 17.5 cms Police Patrol 1911 conté and gouache on paper 13.5 x 21 cms

POA £5,750 £6,750 £7,750

Sylvia Wishart (1936-2008) Cottage Interior mixed media 60 x 90 cms

£2,500

Aleksander Zyw (1905-1995) Italian Landsape 1949 oil on canvas 63 x 75 cms

£4,750

Non-Illustrated Paintings FCB Cadell RSA, RSW (1883-1937) Iona watercolour and pencil 38 x 45.5 cms

£38,500

Sir William Gillies CBE, RSA, RA, PPRSW (1898-1973) Hangingshaws Farm at Heriot pencil drawing 25 x 35 cms

£2,500

John Houston OBE, RSA, RSW (1930-2008) Autumn Sunset near Elie oil on canvas board 17 x 49 cms Sunset on the Forth watercolour 22 x 29 cms Bass Rock, Blue Day watercolour 26 x 26 cms

£4,500 £2,000 £2,000

George Leslie Hunter (1879-1931) Fife Landscape ink and watercolour 8.5 x 18 cms

£2,500