fine paintings | 30th may 2013

Fine Paintings

Thursday, 30th May, 201333 Broughton PlaceEdinburgh EH1 3RR

Catalogue: £10

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ENQUIRIES AND COMMISSION BIDSLyon and Turnbull Ltd.33 Broughton PlaceEdinburgh EH1 3RRTel. 0131 557 8844Fax. 0131 557 8668email. [email protected]

Fine Paintings

Thursday, 30th May, 2013at 6pm

Sale Number LT380

ViewingSunday, 26th May 2pm - 5pmMonday, 27th May 10am - 5pmTuesday, 28th May 10am - 5pmWednesday, 29th May 10am - 5pmThursday, 30th May 10am - 1pm

SpecialistsNick [email protected]

Emily [email protected]

Charlotte [email protected]

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This symbol § indicates works which

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This royalty will be charged to the

1§ FB791/84KEN HOWARD R.A.(BRITISH b. 1932)THE WINDBREAKSigned, oil on canvas

25.5cm x 30cm (10in x 12in)

£1,500-2,500


Fine Paintings

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2§ FB791/78KEN HOWARD R.A.(BRITISH b. 1932)ALMYROS BEACH, CRETE -MORNING LIGHT EFFECTSigned, inscribed and datedverso,’15.09.09’, oil on board

20cm x 25.5cm (8in x 10in)

£1,200-1,800

3 FE499/31WILLIAM MCBRIDE(SCOTTISH D.1913)SHEEP SHEARINGSigned, oil on canvas

44cm x 60cm (17.25in x 23.5in)

Exhibited:Royal Glasgow Institute for the Arts

£800-1,200


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4 FE188/13EDWARD TRAIN(BRITISH 1801-1866)ON A MOUNTAIN PASSSigned and dated 1851, oil oncanvas

38cm x 59cm (15in x 23.25in)

£1,000-1,500

5 FE149/2*JOHN MACWHIRTER R.A.,R.S.A., R.I., R.E.(SCOTTISH 1819-1911)EDINBURGH BY MOONLIGHTSigned, oil on canvas

104cm x 152.5cm (41in x 60in)

£3,000-5,000


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6 FB66/13ERSKINE NICOL R.S.A.,A.R.A. (IRISH 1825-1904)THE DUBLIN MOUNTAINSFROM TEMPLEOGUESigned and dated 1854,inscribed on a label verso, oilon canvas

38cm x 74cm (15in x 29.25in)

£2,000-3,000


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7 FE430/47SAM BOUGH R.S.A.(SCOTTISH 1822-1878)UNLOADING THE CATCHSigned, oil on panel

30cm x 43cm (12in x 17in)

£2,000-3,000

8 FE188/17EDWIN MASTERS (BRITISH19TH/20TH CENTURY)A BUSY VILLAGE STREETSigned, oil on canvas


£1,000-1,500


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9 FE465/1HENDRICK PIETERKOEKKOEK(DUTCH 1843-c.1890)A SUMMER IDYLLSigned, oil on canvas

39cm x 58.5cm (15.5in x 23in)

£2,000-3,000

10 FE91/3JOHN ROBERTSON REID R.I.,R.B.A., R.O.I.(SCOTTISH 1851-1926)INTERRUPTED STUDIESSigned, oil on canvas


£1,000-1,500


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11 FE499/21SIR JAMES LAWTONWINGATE R.S.A.(SCOTTISH 1846-1924)FARM WORKERS ANDHAYCARTSigned and dated 1875, oil oncanvas

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

£1,500-2,500

12 FF427/1JAMES KAY R.S.A., R.S.W.(SCOTTISH 1858-1942)BOULEVARD DES ITALIENS,PARISSigned, oil on board


£10,000-15,000


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Fine Paintings

14 FG82/30SAM BOUGH R.S.A.(SCOTTISH 1822-1878)STOCKWELL BRIDGESigned, pencil andwatercolour


and another by the samehand ‘Trongate’ (2)

£1,500-2,000

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13 FE499/4JAMES KAY R.S.A., R.S.W.(SCOTTISH 1858-1942)SUNRISE OVER THE CLYDESigned, gouache

17.5cm x 25.5cm (7in x 10in)

£600-900

15§ FE188/8JAMES MCBEY(SCOTTISH 1883-1959)SAN GIORGIO, SUNRISESigned, inscribed and dated‘19 September 1924’, pen andink and watercolour


Provenance:M.Knoedler & Co. New York

£1,500-2,000

16GEORGE CHINNERY R.A.(BRITISH 1774-1852)RIVERSIDE TEMPLE, DACCAPencil

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

Provenance:Thos. Agnew & Sons,Ltd no.27679

£600-800


Fine Paintings

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17JAMES KAY R.S.W., R.S.A.(SCOTTISH 1858-1942)TRONGATESigned and inscribed ‘To MrsStevenson with comps’,watercolour

47cm x 59cm (18.5in x 23.25in)

£3,000-5,000

The works represented in thissale span the breadth ofMcTaggart’s career, from theearly example ‘In Charge’ of1965, through to the lateportrait of his youngestchildren Nelly and Betty in1901. Throughout his workthe subject of children in alandscape features heavily.How this was conveyed,however, was to evolve bothideologically and stylistically.

In the 1860s McTaggart’swork still incorporatedelements of the genre scene.His admiration for the Pre-Raphaelites, in particularMillais, also meant that hewas inclined towards anelement of symbolism in hispaintings, with children beingdeployed for his spring andsummer subjects and elderlyfigures for autumn and winter.His main objective was for hissitters to have “a directimmediate contact with thenatural environment.”[1] Inthe instance of ‘In Charge’ ittakes the form of theinnocently sleeping child lyingamidst the summery grasses,oblivious and carefree whilethe dog bears the weight ofresponsibility for its welfare.

This sense of the ‘oneness’ ofchildren and nature was togradually reinforce itselfthematically, though the1870s and 80s saw a period ofstylistic transition. The dualaspects of figure andlandscape became evermore


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balanced in terms of thefocus of his compositions; hispurpose being to highlight theunity of the two elements.

As in, ‘Return of the LobsterBoats’ of 1901, McTaggart’spaintings became increasinglyfocused on the West coastshoreline and the elementalforces that sweep it. Headopted what would bedescribed as an increasinglyimpressionistic looseness of

handling to better evoke theseconditions. Though he wasaware of the work of theImpressionist School havingseen an exhibition in Londonin 1883, he is largely believedto have arrived at this broken,suggestive brushwork as anatural and logicaldevelopment of his ownexperimentation. The figuresof children remained presentbut now, as in the portrait of

Nelly and Betty of 1901, theyare unified with thelandscape, wholly absorbedcompositionally and tonally.

[1] p.40, ‘William McTaggart: 1835-1910’, by Lindsay Errington,published National Gallery ofScotland, 1989

William McTaggart

19 FG82/23WILLIAM MCTAGGART R.S.A.,R.S.W. (SCOTTISH 1835-1910)IN CHARGESigned and dated 1865, oil oncanvas

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

Exhibited:Royal Scottish Academy 1866,no.441Dundee 1867

Literature:James L Caw, William McTaggart1917, pp.41,228

£7,000-10,000


Fine Paintings

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18 FF149/2WILLIAM MCTAGGART R.S.A.,R.S.W. (SCOTTISH 1835-1910)RETURN OF THE LOBSTERFISHERSSigned and dated 1901, oil onpanel

25.5cm x 28cm (10in x 11in)

Note:This is a study for the picture in theMelbourne Gallery begun atMachrihanish in 1899

Literature:James L.Caw, William McTaggart,1917, p.274

£6,000-9,000

20 FE149/5*WILLIAM MCTAGGARTR.S.W., R.S.A.(SCOTTISH 1835-1910)WAITING FOR THERETURNING BOATSSigned and dated 1880,watercolour


Provenance:The drawing was given by the artistto the Dundee Art Society and wonin the Art Union by Mr AlexanderBanks, Dundee

Literature:James Caw, William McTaggart1908,p.249

£1,500-2,000


Fine Paintings

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21 FG82/35WILLIAM MCTAGGART R.S.A.,R.S.W. (SCOTTISH 1835-1910)CARRADALE - RUNNING FORSHELTERSigned and dated 1885,watercolour

24cm x 35.5cm (9.5in x 14in)

Provenance:William McTaggart Sale 1889, no.64

Literature:James L Caw, William McTaggart1917, p.255 which states that this isthe sketch for the larger oil picturedated 1887

£4,000-6,000

22WILLIAM MCTAGGART R.S.A.,R.S.W. (SCOTTISH 1835-1910)A DOUBLE PORTRAIT OFNELLY AND BETTYMCTAGGARTSigned and dated 1901, oil oncanvas

113cm x 85.5cm (44.5in x 33.75in)

Provenance:The Artist’s Trustees

Literature:James L Caw, William McTaggart1917, p.274

£5,000-7,000


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23 FE499/19RICHARD WRIGHT OFLIVERPOOL(BRITISH 1735-1774)A SQUADRON OF BRITISHWAR SHIPS IN AMEDITERRANEAN PORTWITH CAPTURED FRENCHVESSELS DURING THESEVEN YEARS WAROil on canvas

109cm x 168cm (43in x 66in)

£10,000-15,000


Fine Paintings

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Richard Wright was born inLiverpool in 1735. Although healways claimed to be a self-taught artist, the fact that hewas a contemporary andneighbour of Liverpoolpainters William Caddick andGeorge Stubbs has certainlyplayed some influence on hiswork. Deciding to focus on therepresentation of marinesubjects, Wright moved toLondon around 1760 where hebecame known as ‘Wright ofLiverpool’. There he had thechance to develop his stylefurther under the influence ofthe long tradition of Dutchsea painters who sought thepatronage of the BritishMonarchy at the end of the17th Century after the Anglo-Dutch wars had weakened theDutch supremacy at the sea.

As soon as he moved toLondon, Wright presented his

works at the Society of Artswhere he exhibited every yearuntil 1773. In 1764 hisperhaps most famouspainting ‘The Fishery’ – nowin The Yale Centre for BritishArt – won the Society’s prizefor the best sea view andgranted him a nationalreputation as a sea painter.Depicting a ship entering theharbour in a storm, ‘TheFishery’ possesses thatclarity of detail and masterfuluse of dramatic light thatdefines Wright’s artistic styleand connects him to theDutch tradition.

Throughout his career Wrightwent on many journeys onboard British ships, recordingcrucial moments of 18thCentury British naval history.The painting presented hereshows a scene from theSeven Years’ War, the conflictbetween England and Francethat involved almost all thegreat world powers of thetime. It is likely that the workwas realised between 1758and 1761, years during whichthe most important navalbattles between England andFrance took place inEuropean seas. Wright, whoin 1759 painted the famous

Battle of Quiberon Bay inwhich he assisted in personfrom a victorious British ship,had probably been travellingwith the English fleet sincethe year before when Englanddefeated France in two otherbattles off the Spanish-Portuguese coast atCartagena and Lagos.

The geological rockyformation that emerges in thebackground of the paintingtogether with the Moresquearchitecture of some of thebuildings suggest thehypothesis that theMediterranean port of the titlebelongs to a city along theSpanish coast, maybebetween Cartagena and theBritish naval base ofGibraltar. Accounts of theBattle of Cartagena seem toredirect the choice of thelocation to the former of thetwo: in February 1758 aBritish fleet blockaded aconvoy of French ships in theharbour of Cartagenapreventing them going to theaid of the reinforcement thatwas being attacked by therest of the British fleet off thecoast with the result of thealmost total destruction ofthe French squadron.

Quite unusual among hisdepictions of ships in roughseas, this rather peacefulscene is an example ofWright’s ability to survey thecomposition in meticulousdetails, from the sailors in theforeground to theextraordinary reproduction ofthe vessels and thearchitectural elements of thetown in the background. Thedramatic use of light gives thecomposition an atmospherictone that seems to anticipatethe great landscape traditionof the Romantic era.

Interestingly, Wright’s nameas marine painter was so wellknown that the English artistSir Joshua Reynoldsemployed him to paint navalscenes in the background ofat least two of his portraits:the Duchess of Ancaster andthe Captain Alexander Hood,the action of which depicts,once again, a moment of theFranco-British conflict duringthe Seven Years’ war.

24 FC614/1ATTRIBUTED TO PETERMONAMY(BRITISH 1681-1749)THE LANDFALL OF THEROYAL CAROLINE, FIRING ASALUTEOil on canvas

71cm x 114cm (28in x 45in)

£3,000-5,000


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25 FG17/1ATTRIBUTED TO LAI FONGPORTRAIT OF THE ADELAIDETRADER ‘GLANCE’Inscribed, oil on canvas


Note:The ‘Glance’ was built in 1869 byWm. Watson of Sunderland for W.Pellier of London. Gross tons 911with dimensions of 198.1ft x 33.1ft x27.7ft

£1,000-1,500

26WILLIAM CLARK OFGREENOCK(SCOTTISH 1803-1883)THE YACHT RACESigned, oil on canvas


Literature:A.S.Davidson, Marine Art: The Clyde2001, Ill.p.75

£3,000-5,000


Fine Paintings

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27 FE187/1†THOMAS BUTTERSWORTH(BRITISH 1768-1842)KING GEORGE IV’S VISIT TOSCOTLAND - THE ARRIVAL ATLEITHSigned, oil on canvas

20cm x 88cm (8in x 34.5in)

and a companion, a pair,‘Disembarcation of the RoyalParty at Leith; (2)

Provenance:Kennedy Galleries Inc. New YorkRudolph Schaeffer, author ‘J.E.Buttersworth’; and thence bydescent

£20,000-30,000


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28§ LT2013/35HENRY SCOTT(BRITISH 1911-2005)DAWN MIST, FOOCHOWSigned, oil on board

35.5cm x 51cm (14in x 20in)

Note:Foochow a port in South East Chinais the capital of Fujian Province andis located on the banks of the MinRiver. It reached its height ofprosperity when it opened as aTreaty Port after the first Opium War(1839-42)

£1,000-1,500


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29§ LT2013/37HENRY SCOTT(BRITISH 1911-2005)THE WHITE CLIPPER ‘SIERRAPARIMA’Signed, oil on canvas


Note:The Sierra Parima was registered at1518 tons. Built by J.Reid and Co in1882, she was lost on the SundivaAtoll in June 1896.

£3,000-5,000

30 FE188/21HORATIO MCCULLOCH R.S.A.(SCOTTISH 1805-1867)THE BURNS MONUMENT,BRIG O’ DOUNEOil on canvas

43.5cm x 65cm (17in x 25.5in)

£1,500-2,000


Fine Paintings

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31 FE188/22ALEXANDER CARSE(SCOTTISH 1770-1843)A TAVERN INTERIOROil on canvas


£3,000-5,000

32 FE499/29REVEREND JOHN THOMSONOF DUDDINGSTON H.R.S.(SCOTTISH 1778-1840)KINBANE CASTLE - COUNTYANTRIMOil on panel

51cm x 75cm (20in x 29.5in)

Note:Possibly the painting listed in anExhibition of Pictures and Sketchesby John Thomson of Duddingstonheld soon after his wife’s deathduring the month of February 1846at 19 Princes St, Edinburgh

Literature:Robert W.Napier, Rev. J.Thomson ofDuddingston, 1919, p.506

£2,000-3,000


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33 FG82/3SAM BOUGH R.S.A.(SCOTTISH 1822-1878)MID-QUAY, GREENOCKHARBOURSigned and dated 1858,inscribed on a label verso, oilon panel

43.5cm x 33cm (17.25in x 13in)

£12,000-18,000


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Though born in Carlisle, SamBough spent much of hiscareer north of the Scottishborder, living variously inGlasgow, Hamilton, Edinburghand periodically around theFife coast. A famouslyramshackle and romanticfigure, he was entirely self-taught, eventually taking upwith the prominent Scottishlandscape artists HoratioMcCulloch and AlexanderFraser, with whom he honedhis talents on expeditions toCadzow Forest.

Dating from 1858, this pictureis from the tail end of hisGlasgow period. Hisbiographer Sidney Gilpin wrylyremarks that his time spent inthe city “was still the old tale:little forethought and lessthriftiness” and was, indeed,perhaps the most financiallydifficult period of the artist’s

Excellent painting, from thecompositional structure to theatmosphere evoked, is aresult of instinctive and oftenswift decision making. Thisdecisiveness lies in theartist’s inherent skill and theirconfidence with their brush,and was something Boughhad in abundance. Thepainting represented here isdemonstrative of a masterlyability to describe what wasbefore him in marvellousdetail, whilst simultaneouslysacrificing unnecessaryelements in order to evoke amood within the scene. It isalso, in many ways, aprecursor of his in depthexplorations of the harboursof the East Neuk in the latterhalf of his career, where theinfluence of McCulloch wouldgive way the evocation ofTurner and his rosy skies andsilhouetted ships.

entire career. Initially he hadyet to take the leap intomaking his living solely as afine artist and was still at thisstage a theatrical set painter,albeit of increasing renown. Itwas during his time at thePrincess Theatre that he metand married a young contraltofrom one of the shows. Theaffair was conducted intypically unorthodox fashion,with the pair having knowneach other for a mere threemonths. Invigorated by thisnew phase in his life, Boughincreasingly began to paintand sketch the Glasgowlocality and his work was metwith a degree of success thatenabled him to give up his jobas a scene painter.

Though he appeared asomewhat scatterbrained andcareless character, his workitself was far from it.


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Fine Paintings

34 FB66/12JAMES WEBB(BRITISH 1825-1895)EVENING, WIMBLEDONCOMMONSigned and dated ‘61, oil oncanvas


£1,000-1,500

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36 FE188/4WILLIAM CURRIE(SCOTTISH fl. 1846-1868)VIEW OF EDINBURGH FROMTHE SOUTHInscribed on a label verso, oilon canvas

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

£800-1,200

35 FB66/14FOLLOWER OF JAMES WEBB(BRITISH 1825-1895)FIGURES CROSSING ABRIDGEOil on canvas


£600-800

38 FE188/10ALEXANDER NASMYTH(SCOTTISH 1758-1840)VIEW OF DUNKELD ON THERIVER TAYInscribed on label verso, oilon panel


£4,000-6,000


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37 FE149/1*18TH SCOTTISH CENTURYSCHOOLSIR NEIL MENZIES AT THEHEAD OF HIS CLAN WITHCASTLE MENZIES BEYONDOil on canvas

74cm x 122cm (29in x 48in)

£1,500-2,500

39 FE499/70SIR WILLIAM FETTESDOUGLAS R.S.A.(SCOTTISH 1822-1891)ON A HOUSE TOP IN ROMEInscribed on a contemporarylabel verso which coversoriginal painted inscription,oil on canvas laid down

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

Note:Thought to be a portrait of theartist’s wife

Exhibited:Royal Scottish Academy 1874,no.154

£1,000-1,500


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William Fettes Douglasenjoyed a successful careeras both Curator of theNational Gallery of Scotlandbetween 1877 and 1882, andas the 6th President of theR.S.A., a position he held fornine years. He is best known,however, for his notablecontribution to the narrativepainting genre.

Following in Sir David Wilkie’sfootsteps, Fettes Douglastackled historical, literary and

religious subjects, though hisesoteric imaginings ofmagicians and alchemistsremain among his mostidiosyncratic and popularmotifs. His subjects aredescribed in a high level ofdetail, often featuringbeautifully observed still liveswithin the wider composition.A keen antiquarian, theobjects littering the MoneyLender’s study and crowdedmonk’s garret in Adding tothe Glory of the Saints were

William Fettes Douglasoften in fact the artist’s ownpossessions.

The Money Lender, featuredin this sale, is criticallyregarded as being among theartist’s finest works,provoking comparisons toDutch ‘Golden Era’ artistPieter de Hooch with itscleverly imagined landscapevisible through the window atthe rear of the scene. Theplay of light was also acharacteristic of his work,

our attention often focusedby the light from a lamp orwindow. The success of thesecomplex compositions isdemonstrative of histechnical skill as an artistand the reason he was highlyregarded by art historiansincluding James Caw, authorof the important volume‘Scottish Paintings Past andPresent’, the first tochampion the appreciation ofScottish art.

40 FE499/65SIR WILLIAM FETTESDOUGLAS R.S.A.(SCOTTISH 1822-1891)ADDING GLORY TO THESAINTSSigned and inscribed verso,oil on panel

25.5cm x 43cm ( 10in x 17in)


£1,000-1,500


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42 FE499/64SIR WILLIAM FETTESDOUGLAS R.S.A.(SCOTTISH 1822-1891)THE MONEY LENDERSigned with a mongram anddated ‘61, oil on canvas

55cm x 91cm (21.5in x 36in)

£2,000-3,000

41 FE499/66SIR WILLIAM FETTESDOUGLAS R.S.A.(SCOTTISH 1822-1891)CALM WEATHER, PORTSETONInscribed on a label verso, oilon canvas laid down

12cm x 42cm (4.5in x 16.5in)

£800-1,200

43 FE499/63SIR WILLIAM FETTESDOUGLAS R.S.A.(SCOTTISH 1822-1891)UN CONTRE-TEMPSSigned with a monogram anddated ‘79, oil on canvas


£1,500-2,000


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44 FE499/71SIR WILLIAM FETTESDOUGLAS R.S.A.(SCOTTISH 1822-1891)THE CONSPIRATORSSigned with a monogram anddated 1866, oil on canvas



£2,000-3,000

45FORD MADOX BROWN(BRITISH 1821-1893)QUEEN ELEANOR, STUDY FOR STAINEDGLASS, WILLIAM MORRIS & CO.Signed with monogram and dated ‘70,inscribed, ink and wash

122cm x 41cm (48in x 16in)

Note:Inscribed ‘This cartoon is the property of theartist, copyright for stained glass only granted tothe firm of William Morris Co.’

£3,000-5,000


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33

Ford Madox Brown is recognised as agreatly influential artistic figure of thelate 19th century. Often grouped with thePre-Raphaelites by both association andstylistic similarity, Brown was in factonly ever peripherally engaged with themovement and largely pursued anindependent path. His association withthe group began by way of his friendshipwith the young Dante Gabriel Rossettiwho, as an admirer of Brown’stechnique, approached him for tuition.Together they became foundingmembers of the design firm Morris,Marshall, Faulkner and Company in1861. A schism of ideologies resulted inits reformation as simply Morris andCompany in 1874, after which timeBrown no longer produced designsalongside members of the Pre-Raphaelite Brotherhood.

This lot is one of 129 cartoons created byBrown, 123 of which, including thisexample, were seen to fruition asstained glass panels. Designed in 1870 itis one of several window panels Browncreated for Peterhouse, CambridgeUniversity’s oldest college. It depictsQueen Eleanor of Castile (d.1290), thefirst wife of Edward I. Eleanor, born intoa famously literary court and thus bettereducated than the average medievalnoblewoman, is hailed as the founder of

back forms of stained glass design.Quotations from Brown himself revealthat the simplicity demanded proved achallenge he very much enjoyed rising tomeet. To Brown, the fundamentalrequirements of good design were“invention, expression and gooddramatic action”.[2] This lot isspecifically cited by the historian MaryBennett in her definitive catalogueraisonne.

“They have a command of gesture andmovement both dramatic and subtle,from the profound expression of grief(note The Entombment, 1865: C122, A88)to the delicately conveyed character(note Queen Eleanor for Cambridge,1870: C154).”[1]

The subtlety of this design is indeednoteworthy; the draperies simplyrendered and the compositionuncluttered, the Queen’s expressionbeatifically serene and her hand gesturesaintly in its minimalism. Queen Eleanor– though relatively unpopular in her owntime – has been beloved of historianssince the 17th century and, around thetime Brown created his design, had beenwarmly rendered in a recent account ofthe Lives of the Queens of England fromthe Norman Conquest written by thehistorian Agnes Strickland in 1859.

Though Brown ceased to design stainglass after the dissolution of Morris,Marshall, Faulkner and Company, thelinear discipline he learned during theperiod would impact on his later works,most notably his famous murals forManchester Town Hall, a commission heworked on until his death in 1893.

[1] p. 504 and p.427, ‘Ford Madox Brown: ACatalogue Raisonne’, by Mary Bennett, vol. 2,published Paul Mellon Centre by Yale UniversityPress, New Haven and London, 2010.[2] p.19, A check-list of designs for stained glassby Ford Madox Brown’, by A. C. Sewter

Peterhouse which dates to 1280 whenEdward I allowed a number of scholarsto be housed in the Hospital of St John,later the site of the college. In Brown’sdepiction, the Queen is seen holding hersceptre, “in the act of conferring on thecollege the charter”.[1]

Brown’s style has often been describedby art historians as graphic, a tendencywhich naturally lent itself to the pared-

46 FE210/1JAMES ARCHER R.S.A.(SCOTTISH 1823-1904)SERENADESigned with a monogram andindistinctly dated, oil oncanvas

66cm x 45cm (26in x 17.75in)

£1,500-2,000


Fine Paintings

34

47 FE188/12JAMES ARCHER R.S.A.(SCOTTISH 1823-1904)SCHOLARLY PURSUITSSigned with a monogram anddated 1869, oil on canvas


£2,000-3,000

48 FE149/12*ROBERT GEMMELLHUTCHISON R.B.A., R.O.I.,R.S.A., R.S.W.(SCOTTISH 1860-1936)READING THE GLASGOWWEEKLY NEWSSigned, oil on canvas


£4,000-6,000


Fine Paintings

35

49 FG51/3ROBERT GEMMELLHUTCHISON R.B.A., R.O.I.,R.S.A., R.S.W.(SCOTTISH 1860-1935)PEELING TATTIESSigned, oil on canvas

31cm xs 25.5cm (12in x 10in)

£3,000-5,000


Fine Paintings

50 FE430/43JOHN MACWHIRTER R.A.,R.S.A., R.I., R.E.(SCOTTISH 1839-1911)A SHOWER AT SEASigned with a monogram,watercolour

33cm x 52cm (13in x 20.5in)

£500-800

36

52§ FE188/16PATRICK DOWNIE R.S.W.(SCOTTISH 1871-1945)PASSING SHIPSSigned and dated 1903,gouache


£600-800

51 FG66/3SAM BOUGH R.S.A.(SCOTTISH 1822-1878)VIEW OF THE FORTH OFFIRTH FROM EAST LOTHIANSigned and dated 1876,watercolour


£700-1,000


Fine Paintings

37

54 FC697/1THOMAS MILESRICHARDSON JUNIOR R.W.S.(BRITISH 1813-1890)A HIGHLAND HARVEST FIELDSigned and dated 1859,watercolour

25.5cm x 86.5cm (10in x 34in)

£2,000-3,000

53 FG82/32ROBERT MCGOWNCOVENTRY A.R.S.A., R.S.W.(SCOTTISH 1855-1941)ST. PAUL’S FROM THETHAMESSigned, watercolour

20cm x 24cm (8in x 9.5in)

£800-1,200

55 FG51/2ROBERT GEMMELLHUTCHISON R.B.A., R.O.I.,R.S.A., R.S.W.(SCOTTISH 1860-1935)SEAGULLS OFF ACLIFF-FACESigned and inscribed‘Musselburgh’, watercolour

35.5cm x 41cmb (14in x 16in)

£1,000-1,500

56JOHN FREDERICK HERRINGSENIOR (BRITISH 1795-1865)PORTRAIT OF A DARKBROWN HUNTER IN ASTABLE INTERIORSigned, oil on canvas


Provenance:Descendants of the Duke of Grafton.

£3,000-5,000


Fine Paintings

38

57JOHN FREDERICK HERRINGSENIOR (BRITISH 1795-1865)PORTRAIT OF A DARK BAYHUNTER IN A STABLEINTERIORSigned, oil on canvas


Provenance:Descendants of the Duke of Grafton.

£3,000-5,000


Fine Paintings

39

58 FF39/19JOHN FAED R.S.A.(SCOTTISH 1819-1902)THE FISHERMAN’SDAUGHTERSigned and dated 1876, oil oncanvas

61cm x 49cm (24in x 19.25in)

£3,000-5,000


Fine Paintings

40

59 FE406/2WILLIAM POWELL FRITH(BRITISH 1819-1909)A PENSIVE YOUNG WOMANOil on canvas

74cm x 62cm (29in x 24.5in)

£4,000-6,000


Fine Paintings

41

60 FG51/4GOURLAY STEEL R.S.A.(SCOTTISH 1819-1894)STUDY FOR THE HIGHLANDPARTINGSigned, oil on canvas


£1,000-1,500


Fine Paintings

42

61 FE396/61RICHARD WHITFORD(BRITISH d. 1890)STUDY OF A HORSE INLANDSCAPESigned and dated 1860, oil oncanvas


£800-1,200

62 FE188/19ALEXANDER YOUNG(SCOTTISH 1865-1923)LANDING THE CATCHSigned and dated 1911, oil oncanvas


£800-1,200


Fine Paintings

43

64 FE340/1CHARLES MARTIN HARDIER.S.A. (SCOTTISH 1858-1916)SLEEPING SHEPHERDSigned and dated ‘86, oil oncanvas


£2,000-3,000

63 FB66/15JAMES WEBB(BRITISH 1825-1895)SNAPE, SUFFOLKSigned and dated 1878,inscribed verso, oil on canvas

35.5cm x 61cm (14in x 24in)

£2,000-3,000

65HERMANUS KOEKKOEK SNR(DUTCH 1815-1882)DUTCH SHIPPING OFFAMSTERDAMSigned, oil on canvas

35.5cm x 58cm (14in x 22.75in)

and a companion a pair‘Shipping in an estuary’ (2)

£15,000-20,000


Fine Paintings

44

66 FB66/16DANIEL ISRAEL(AUSTRIAN 1859-1901)ODALISQUESigned and inscribed‘München’, oil on panel

11cm x 18cm (4.25in x 7in)

£3,000-5,000


Fine Paintings

45

67 FF418/7MANÉ-KATZ (FRENCH/UKRANIAN 1894-1962)HEAD OF A BOYSigned with initials, oil onboard, oval

17.5cm x 13cm (7in x 5.25in)

Provenance:O’Hana Gallery, London

£2,500-3,500


Fine Paintings

46

68 FG63/3JOSÉ GILBERT(FRENCH 1862-1935)TYPE MAROCÉANEntitled and dated 1905 onlabel verso, oil on canvas

33cm x 24cm (13in x 9.5in)

£1,500-2,000

69§ FF181/1ÉDOUARD LÉON CORTÈS(FRENCH 1882-1969)CARRIAGES, MADELEINESigned, oil on canvas


£20,000-30,000


Fine Paintings

47


Fine Paintings

48

70JOSEPH FARQUHARSON R.A.(SCOTTISH 1846-1935)HOMEWARD BOUNDSigned, oil on canvas


£30,000-50,000


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49

Joseph Farquharson was oneof the most highly esteemedand commercially successfullandscape artists of hisgeneration. His skill atdepicting his nativeAberdeenshire, or moreparticularly its snow, waswidely admired. WalterSickert, admitting in the DailyTelegraph that he foundFarquharson’s rose-tintedtraditionalism a guiltypleasure, even described hismastery of the snow scene ason a par with GustaveCourbet.[1]

Farquharson was born intoaffluence and latterly becamethe laird of the Finzean estateupon the death of his brother.Artistically, he was greatlyinfluenced by the work of hisfamily friend Peter Graham,also a painter of highlandscenes. His further education

unsurprising that Farquharsonseldom deviated from hissuccessful formula. Indeed,when you can be said to havetruly mastered a genre,perhaps it is unnecessary todo so.

[1] p.5, ‘Joseph Farquharson ofFinzean’, published by Aberdeen ArtGallery and Museum, 1985[2] p.12 ibid

measure, combined with hislove of snow, earned him thenickname ‘Frozen MuttonFarquharson’.[2]

Though sheep feature heavilyin his oeuvre, it was not hisonly motif. This paintingfeatures his other favouritedevice – the lone child in alandscape. A single isolatedlittle figure can create thesuggestion of a narrativewithin a scene. Are they lost,left to wander in the snow asthe end of the day draws in?Or are they heading home,the suggestion of a cosycottage just around the bendto greet them? These ratherpoetic elements are everpresent in the artist’s work,his paintings never readingas simple, straight forwardlandscapes. The glint of lighton water and the sense ofhush we all recognise whenthe world is blanketed insnow play a lyrical part in ourinterpretation of this work.

With the proceeds of hispainting sales going towardsthe upkeep of the Finzeanestate, it is perhaps

was in the Parisian atelier ofCarolus-Duran for severalyears in the early 1880s,studying alongside his friendJohn Singer Sargent. The enplein air painting trips madeto Barbizon at this time wereto plant the seeds of hiscontinued art practise.Painting en plein air inScotland however, and moreparticularly in Aberdeenshirein the dead of winter, posedinevitable difficulties.Farquharson overcame thiswith the invention of atransportable wheeledpainting shed, complete withlarge glazed window andstove. From this cosy vantagepoint he was able to observethe wildlife of the forests andglens that, oblivious to hispresence, moved fearlesslyround and about his cabin.

His artistic ingenuityextended to the modelling ofhis own startlingly realisticsheep which could bepositioned ‘just so’compositionally in lieu of themore erratic real thing. Thissomewhat eccentric


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Fine Paintings

51

72JOSEPH FARQUHARSON R.A.(SCOTTISH 1846-1935)THE HAYFIELDSigned, oil on canvas

63cm x 89.5cm (24.75in x 35.25in)

£4,000-6,000

71JOSEPH FARQUHARSON R.A.(SCOTTISH 1846-1935)AUTUMN GOLDSigned, oil on canvas

115cm x 90cm 45.25in x 35.5in)

£30,000-50,000

73- FE188/20JOSEPH FARQUHARSON R.A.(SCOTTISH 1846-1935)PEONY ROSESSigned, oil on canvas


Provenance:Fine Art Society, London, 1924

£5,000-7,000


Fine Paintings

52


Fine Paintings

53

74 FE188/3THOMAS BROMLEYBLACKLOCK(SCOTTISH 1863-1903)THE ENCHANTED GARDENSigned, oil on board

30.5cm x 38cm (12in x 15in)

£1,000-1,500

75 FE188/7GEORGE OGILVY REID R.S.A.(SCOTTISH 1853-1928)THE LATEST NEWSSigned, oil on canvas

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

£1,000-1,500

76§ FG82/25WILLIAM MILLLER FRAZERR.S.A. (SCOTTISH 1864-1961)SUMMER FLOWERSSigned and dated 1886,inscribed verso ‘In memory ofthe sunshine at Whistlefield’,oil on canvas

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

£2,000-3,000


Fine Paintings

54

77§ FF117/1BERTRAM PRIESTMAN(BRITISH 1868-1951)JERUSALEM FROM THE MT.OF OLIVESSigned, inscribed andindistinctly dated ‘CharlesHarris from BertramPriestman’, oil on canvas

44.5cm x 61cm (17.5in x 24in)

£1,000-1,500

78 FE499/22JOHN CAMPBELL MITCHELLR.S.A. (SCOTTISH 1862-1922)IN GARTMORESigned, oil on canvas


Exhibited:Royal Academy, Exhibition ofScottish Art, 1939

£1,000-1,500


Fine Paintings

55

79FE188/24DUNCAN CAMERON(SCOTTISH 1837-1916)HARVEST-TIMESigned, oil on canvas


£2,000-3,000


Fine Paintings

56

80 FE465/3DAVID FULTON R.S.W.(SCOTTISH 1848-1930)THE SQUIRRELSigned, oil on canvas

56cm x 68cm (22in x 26.75in)

£2,000-3,000

81 FE188/1JAMES GILES R.S.A.(SCOTTISH 1801-1870)ON THE ITALIAN LAKESSigned and dated 1830, oil onboard

35.5cm x 51cm (14in x 20in)

£2,000-3,000


Fine Paintings

57

82 FG25/1ARTHUR PERIGAL R.S.A.,R.S.W. (SCOTTISH 1816-1884)THE COWDEN HILLS, GLENTORRIDON, ROSS-SHIRESigned and dated 1865,inscribed with title on labelverso, oil on canvas

69cm x 117cm (27.25in x 46in)

£3,000-5,000


Fine Paintings

58

83 FF102/1CHARLES HODGE MACKIER.S.A., R.S.W., P.S.S.A.(SCOTTISH 1862-1920)ST. PETER’S, ROMESigned, inscribed verso, oil onboard


£1,000-1,500

84 FE188/15WILLIAM ALFRED GIBSON(SCOTTISH 1866-1923)A DUTCH CANAL WITH PUNTSigned, oil on canvas


£1,500-2,000


Fine Paintings

59

Born in 1844 in NorthernFrance, Léon AugustinLhermitte was one of themost significant artistsworking within the Realisttradition in the latter decadesof the 19th century. Realismwas an artistic movementspanning the disciplines ofpainting, literature andtheatre which developed inthe 1850s after the 1848Revolution. In keeping withthe political tone of theperiod, artists wereconcerned with depicting theeveryday lives of all aspects ofsociety. Their aim was tocreate an art form that wasrelevant to the masses ratherthan elevated above thecomprehension of the layperson by literary allusion,allegory or the assumption ofa prior understanding of theart historical canon. Spanningseveral decades andencompassing a broad remit,there is no specific unifyingideology associated with themovement as such, and thesubject matter varies fromscenes of urban industry torural peasantry at work in thefields.

Realism’s early days were itsmost politicised and thecause of much contentionamong the traditional artinstitutions of Paris, with thework of artists like GustaveCourbet gradually changingthe face of prestigious


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exhibitions like the annualParis Salons. Born and bredin the countryside, Lhermittefollowed in the footsteps ofJean-François Millet bylargely focusing his attentionon rural subject matter. WhileMillet self-consciouslyelevated the status of thepeasant workers, Lhermitte’swork can be read as aveneration of the timelessrhythms of the countryside asopposed to overt social orpolitical commentary. Writingabout an exhibition held inLondon in 1909, an art criticfor the Daily Telegraphcommented that his works“stand for realism halftransformed by the poetry ofsympathy”. Emile Zola, thefigurehead of Naturalistliterature and a close friend ofLhermitte, proclaimedRealism to be the choicebetween ‘vrai’ (truth) and‘beau’ (beauty). The ‘truer’ youwere, the more progressiveyour art was perceived to be.Lhermitte clearly did not feelthat these elements werenecessarily mutuallyexclusive. The ‘truth’ he sawin the fields and woodlands ofFrance was beauty.

His figures are depicted in anatural, un-staged mannerand, as here in ‘At the End ofthe Day’, are often somehowincidental to rather than thefocus of the scene. Criticsboth contemporaneous and in

subsequent years havebestowed high praise on hispastel studies, showcasing asthey do the excellentdraughtsmanship whichelevated his work above manyof his peers. In this picturewe see the influence ofImpressionism pervading histechnique – with a tangiblelooseness of handling andthe gradation of light andtone picked out in subtleflecks of yellow and pink. In‘The Seamstresses of theConvent’, Lhermitte provideshis audience with a rareglimpse behind the convent’sdoors – revealing anindustrious society within asociety. Again the artistcreates a representationwhich, though not exactlyidealised, certainly seems tocelebrate the activity of hissitters, in this case the nunsin their sunny workroom bentintently over their sewing.

Esteemed and collectedwithin his lifetime, Lhermitteexhibited work at the ParisSalons on several occasionsand won the Grand Prize atthe Exposition Universelle in1889. His work was cited asan inspiration to youngergenerations of artistsincluding Vincent Van Gough.

Léon Augustin Lhermitte

85 FF148/1LÉON AUGUSTIN LHERMITTE(FRENCH 1844-1925)THE SEAMSTRESSES OF THECONVENTSigned and indisitinctly dated189-, pastel

50cm x 70cm (19.75in x 27.5in)

£7,000-10,000


Fine Paintings

61

86FF149/1LÉON AUGUSTIN LHERMITTE(FRENCH 1844-1925)AT THE END OF THE DAYSigned, pastel

50cm x 41cm (19.75in x 16in)

£6,000-8,000


Fine Paintings

62

87ROBERT MCGOWNCOVENTRY A.R.S.A., R.S.W.(SCOTTISH 1855-1941)A WOODLAND CLEARINGSigned and dated 1902, oil onpanel

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

and another by the samehand ‘In the Trossachs’(2)

£1,000-1,500


Fine Paintings

63

88JAMES WATTERSTONHERALD(SCOTTISH 1859-1914)KIRRIEMUIR FAIRSigned and dated ‘87,watercolour

27cm x 20cm (10.5in x 8in)

£1,500-2,000

89 FG82/10WILLIAM HEATH WILSON(SCOTTISH 1849-1927)PALERMOSigned, signed, inscribed anddated 1888 verso, oil on panel


£3,000-5,000


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64

Born in Glasgow from aparticularly talented family,William Heath Wilson wastaught the art of painting byhis father, the artist andarchitect Charles HeathWilson, who in 1849 wasappointed secondheadmaster of the newlyfounded Glasgow School ofDesign. William’s grandfatherwas the Scottish-bornlandscape painter AndrewWilson, the only formal pupilof Alexander Nasmyth, whowas mostly known for hisscenes of the Italiancountryside painted in amanner very much influencedby his master.

With such an artistic,inspiring background it wasalmost inevitable that WilliamHeath Wilson would follow hispaternal roots specialising ingenre scenes and landscapepainting. Although small indimensions, his oil scenespossess a poetic sensitivitythat seems to be directlyinspired by certain Frenchlandscapes by Corot and hisfellow painters of theBarbizon School. At the sametime, the unfinished touchand the bright tonal qualitiesthat pervade his paintings area reminiscent of the luminouscompositions of WilliamMcTaggart.

The works presented in thissale come from one of themany journeys that Wilsoncompleted around Italy, acountry that has been ofparticular inspiration to hisfamily, first with hisgrandfather Andrew whopermanently moved there in1826 and then with his fatherCharles who decided to settlein Florence in 1868 to studyMichelangelo. These sixpaintings representlandscapes in and around thecities of Venice, Florence andPalermo and were mostcertainly realised within thesame trip that Wilson tookbetween 1887 and 1888. In

them it is possible to see theclear atmosphere thatcharacterises the style of theemerging generation of theGlasgow Boys who gatheredaround the Glasgow School ofArt of which Wilson himselfwas a headmaster.

In the following years, Wilsontravelled further to Italy andEgypt attracted by the brightlight and colours of thesecountries. Eventually hesettled in Wenhaston, Suffolkwhere he continued to paintthe English countrysidethrough his distinctive smalllimpid oils.

William Heath Wilson

90 FG82/11WILLIAM HEATH WILSON(SCOTTISH 1849-1927)THE ROAD TO MONTREALESigned, signed, inscribed anddated 1888, oil on panel


£1,500-2,000


Fine Paintings

65

91 FG82/12WILLIAM HEATH WILSON(SCOTTISH 1849-1927)THE ARNO BELOWFLORENCESigned and inscribed verso,oil on panel


£1,500-2,000

92 FG82/15WILLIAM HEATH WILSON(SCOTTISH 1849-1927)PALERMOSigned, signed, inscribed anddated 1888 verso, oil on panel


£1,500-2,000


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93 FG82/13WILLIAM HEATH WILSON(SCOTTISH 1849-1927)TEMPLE RUINS, ITALYSigned, oil on panel


£1,500-2,000

94 FG82/14WILLIAM HEATH WILSON(SCOTTISH 1849-1927)VENICESigned, inscribed and dated1888 verso, oil on panel


£2,000-3,000


Fine Paintings

67

95 FF151/26MIKHAIL GUERMACHEFF(UKRANAIN 1867-1930)SNOW COVERED RIVERLANDSCAPESigned, oil on canvas


£1,000-1,500


Fine Paintings

68

96 FF39/20HENRY REYNOLDS STEER(BRITISH 1858-1928)AN AFTERNOON NAPSigned and dated 1882,watercolour


£600-800

97 FE188/23WILLIAM WELLS(SCOTTISH 1872-1923)HOME FROM THE FIELDSSigned, oil on canvas

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

£6,000-8,000


Fine Paintings

69

70


Fine Paintings

98§ FG82/28CHARLES OPPENHEIMERR.S.A., R.S.W.(SCOTTISH 1876-1961)THE WILLOW POOLSigned, oil on board


£4,000-6,000

TheGlasgow

Girls


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99 FG82/9BESSIE MCNICOL(SCOTTISH 1869-1904)LADY IN A LACE COLLARSigned, oil on canvas

23.5cm x 18.5cm (9.25in x 7.25in)

£2,000-3,000

This group of three picturesby Bessie MacNicol are rareexamples of the work of thisfine Glasgow artist, whose lifewas tragically cut short at theage of 34. MacNicol is oftenreferred to as the mostimportant woman painter inGlasgow at the beginning ofthe 20th century. She wasborn in 1869, the daughter ofa schoolmaster, and attendedGlasgow School of Art from1887 until 1892 under FraNewberry, and was exposedto the influences of theGlasgow Boy painters as wellas the flourishing designerscoming out of the School ofArt. After leaving the SchoolMacNicol studied art in Parisat the Academie Colarossi. In1893 she exhibited at theRoyal Academy, for the firstand only time. One of hermost famous works, thesmall painting ‘A French Girl’,demonstrated a mature styleand was a sensuous andravishing study of a girls head

in profile. MacNicol exibitedthe picture at the GlasgowInstitute when she returned tothe city in 1895. A criticcommented at the time ‘...ArtLovers at once saw that inBessie MacNicol a newartistic force had arisen inGlasgow’. The enigmaticsitter in the small portrait inoils represented here isstrikingly similar to her modelfor ‘A French Girl’, sharing thesame jet black hair andheavy-lidded expression.

MacNicol’s interest in thedepiction of women and incostume is certainly evident inthe picture of fashionablewomen offered here. Thesensual quality which sheexpressed in her early portrait‘A French Girl’ are againdemonstrated in thedelightful watercolour ‘TheVisit’. The artist luxuriates inthe glamorous clothes of thesitter and in the richupholstery of the couch whichshe reclines on. The direct

influence led her to producework that was lighter,brighter, and more decorativein its brushwork. However, bythe beginning of the newcentury her pictures oncemore took on a darker tone,and she continued to paintuntil her death duringpregnancy in 1904.

Literature:Burkhauser, Jude (edit.) and Tanner,Ailsa Glasgow Girls: Women in Artand Design 1880-1920, 1990, pp.192-199

and confident gaze and theflushed cheeks suggest noordinary assignation, asubtext rendered all the moreinteresting when consideringthe artist’s own gender.

In 1896 MacNicol attained herown studio at the top of StVincent Street in Glasgow andalso spent time inKirkcudbright, a small townpopular with Glasgow artistsincluding E. A. Hornel whoseportrait MacNicol paintedaround this time, and whose

Bessie MacNicol

100BESSIE MCNICOL(SCOTTISH 1869-1904)THE VISITSigned, watercolour

27cm x 18cm (10.5in x 7in)

£1,500-2,000


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73

101BESSIE MCNICOL(SCOTTISH 1869-1904)LADY WITH A FUR COLLARSigned and dated 1904,watercolour

27cm x 18cm (10.5in x 7in)

£2,000-3,000

102§ FG82/34JESSIE MARION KING(SCOTTISH 1875-1949)PRAY YOU HEAR MY SONG OFA NESTSigned and inscribed, pen andink and watercolour,heightened with gold andsilver

24cm x 16cm (9.5in x 6.25in)

£2,000-3,000


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74

103§ FG82/33KATE CAMERON R.S.W., R.E.(SCOTTISH 1874-1965)STILL LIFE WITH PANSIESSigned and dated 1894,watercolour

35.5cm x 35.5cm (14in x 14in)

Exhibited:Helensburgh District Arts Club, Westof Scotland Artists, 1976, no13Glasgow Art Gallery & Museum 1976

£3,000-5,000

With an unusual first name,Stansmore Richmond LeslieDean was often mistaken fora male artist, which servedher as an advantage in themale oriented art communityof the famous Glasgow Schoolto which she was associated.Together with painters likeBessie MacNicol and NorahNeilson Gray and designerslike Ann Macbeth, shebelonged to the ‘GlasgowGirls’, a group of femaleartists whose talent has beenobscured by the fellowGlasgow Boys until veryrecently. In 1988 a dedicatedexhibition finally recognisedtheir importance, in somecases for the first time.


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Born in Glasgow in 1866,Dean grew up in lively artisticenvironment, her father wasthe artistAlexander DavidsonDean. In 1883 Dean became astudent of the GlasgowSchool of Art where she metartists such as C.R.Mackintosh and MargaretRowat, sister of JessieNewbery, another GlasgowGirl. Following in hercolleague’s steps, she spentsome time travelling abroad,especially to South of France,Brittany and Holland whichmuch inspired her work interms of subject matter andthe use of bright colours.

A member of the Society ofLady Artists’ Club in Glasgow,

104§ FG98/1STANSMORE RICHMONDLESLIE DEANS(SCOTTISH 1866-1944)GIRL IN A STRAW HATOil on canvas


Provenance:Familly of Robert MacaulayStevenson and thence by descentSotheby’s, Glasgow 1985

Exhibited:Lillie Art Gallery, Milngarvie 1984,no.12Glasgow Art Gallery and Museum,Glasgow Girls 1990

Literature:Glasgow Girls - Women in Art andDesign 1880-1920, Ed. JudeBurkhauser 1990, Illustrated fig.281p.209

£6,000-8,000

she started exhibiting at theGlasgow Institute in 1984 andby the time she married thefellow artist Robert MacaulayStevenson in 1902 her namewas already well knownamong the members of theGlasgow School. In thisstimulating environmentDean developed her stylefurther towards a realismand a naturalism which drew,like her colleagues, on thePost-Impressionist languageof the Barbizon school on theone hand and on the London-based American painterJames McNeill Whistler onthe other.

Girl in a Straw Hat, paintedaround 1910, perfectly shows

how Dean strove for anaturalistic approach toportraiture on which shefocused most of her artisticproduction. The result is afascinating figure whose raptexpression is enhancedthrough an accurate use oflight and shade which perfusethe painting with a ratherintimate note. The allusiverendering of the subject andthe harmonious balance ofcontrasting hues show theclear influence of Whistler,whose paintings Deanprobably saw in Glasgow andLondon.

105 FE499/11WILLIAM THORNLEY(BRITISH 1867-1898)ARRIVAL OF THE FLEETSigned, oil on canvas

25.5cm x 41cm (10in x 16in)

and a companion, a pair (2)

£1,000-1,500

76

Various Artists


Fine Paintings

77

107 FG16/1JAMES FAED JUNIOR(SCOTTISH 1856-1920)GATHERING STORMSigned, oil on board

25.5cm x 38cm (10in x 15in)

£1,000-1,500

106 FG46/1WILLIAM ALFRED GIBSON(SCOTTISH 1866-1931)ON A DUTCH CANALSigned, oil on canvas

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

£1,000-1,500

108 FE188/9DAVID FARQUHARSONA.R.A., A.R.S.A., R.S.W., R.O.I.(SCOTTISH 1840-1907)MOORLAND IN ATHOLLSigned and dated 1899, oil oncanvas

35.5cm x 61cm (14in x 24in)

£1,500-2,000

109§ FE188/18GEORGE HOUSTON R.S.A.,R.S.W., R.G.I.(SCOTTISH 1869-1947)A GREY DAY IN AYRSHIRESigned, oil on canvas


£2,000-3,000


Fine Paintings

78

TheGlasgow

Boys


Fine Paintings

80

George Henry and Edward Atkinson HornelHenry and Hornelrepresented their own distinctbranch of the GlasgowSchool. They weredisinterested in thenaturalism favoured by manyof their contemporaries whichfound its roots in the Frenchmovement spearheaded byartists such as Bastien-Lepage, finding morecommon ground in the workof Gauguin and the Pont AvenSchool. In simple terms theyembraced a move away fromrealism and narrative infavour of decorativeconstruction of form andcolour, a key influence withinthis being the formalstructures and tonality ofJapanese prints. Thoughmany of the Glasgow Boysoften worked, theorised andsocialised together closely,Henry and Hornel took a stepfurther by collaborating onthe same canvases, perhapsmost famously in the case oftheir work ‘The Druids’ in1890 (Kelvingrove Museum,Glasgow), which dazzled andperplexed critics in equalmeasure.

The ‘Japanism’ of the pair’sart practise was among oneof the most advanced artisticdevelopments taking place inBritain at the time. Japan wasclosed to Europe andremained a place of mysteryto the average Westerner.

Galloway Idyll’ of 1890. Henry,however, produced paintingswith a more faithfuladherence to the formaltraditions of Japanese art;creating a great many worksin watercolour, tonally akin tothe prints of Hokusai andHiroshige. His choice ofmedium was perhaps just aswell; the oils he worked onbeing almost wholly destroyedon the return journey toScotland in 1894, stickingtogether whilst in the ship’shold.

For both Henry and Hornel,the Japanese phase would bethe high point of their careersin terms of innovation andcritical acclaim. In the yearsafter the trip, debts,responsibilities and thesimple advance of age wouldlead them along a morepopulist artistic path.Nevertheless, their time inJapan clearly had a profoundeffect and interestingly re-emerged thematically towardsthe end of each of theircareers.

[1] p.227, ‘The Glasgow Boys’, byRoger Bilcliffe, Frances Lincoln;Revised edition, 2008[2] p.229, ibid

Their dealer Alexander Reid –personally acquainted withthe Pont Aven School and acollector of Japanese printshimself – was among thosewho funded an eighteenthmonth long trip for theadventurous pair. Livingamong the Japanese people,both artists focused theirwork on female figuresengaged in routine activitiesin an interior setting;arranging their sitters toemulate the Japanese printswhich had first inspired thevoyage.

Though their subject matterwas closely linked, the twomen in fact spent largeportions of the trip separately,the proximity havingapparently begun to take itstoll on an increasingly stifledHenry.[1] Consequently, theJapanese output of thepreviously close aestheticcollaborators is subtly butinherently divergent. Hornelfocused – as in the examplehere – on sculpting hissurface texture to decorative,patterned effect, producing“some of the most richlycoloured works of hiscareer.”[2]

The technique creates awhirling, dream-like effectwhich had much in commonwith his critically acclaimedpre-voyage scenes like ‘A

110 FG82/5EDWARD ATKINSON HORNEL(SCOTTISH 1864-1933)JAPANESE DANCER ANDMUSICIANSigned and indistinctly dated,oil on canvas

35.5cm x 33cm (14in x 13in)

£15,000-20,000


Fine Paintings

81

111 FG82/16GEORGE HENRY R.A., R.S.A.,R.S.W. (SCOTTISH 1858-1943)BLOSSOM-TIMESigned, watercolour

53.5cm x 26cm (21in x 10.25in)

£10,000-15,000


Fine Paintings

82

112FD724/1EDWARD ATKINSON HORNEL(SCOTTISH 1864-1933)BRIGHOUSE BAYSigned and dated 1926, oil oncanvas


£7,000-10,000


Fine Paintings

83


Fine Paintings

84

In the summer of 1891,Lavery was invited toGlencarron House, in Rossand Cromarty, the shootinglodge of John McLaren MP.He was given the commissionto paint a series of picturesfor the Gun Room.[1] It isunlikely that this task wasever carried out, becauseLavery quickly became afamily friend and in thefollowing winter executed alarge double portrait of twoof the McLarens’ daughters,Esther and Katherine(fig 1).[2]

This was shown to greatacclaim at the RoyalAcademy and the Paris Salon,while Lavery was engaged onMcLaren’s portrait.[3] Hisrelationship with Esther, agirl in her late teens, becameparticularly close and at thistime, she stood for aWhistlerian full-lengthportrait that was shown at

the Royal Academy in 1894 asA Lady in Brown (fig 2).[4]

A letter dated 5 February1930, which accompanies thepresent lot, refers to thedeterioration which had takenplace on the surface of A Ladyin Brown, and which remainsvisible to this day. During theearly nineties, Lavery wasmuch enamored with newmethods of achieving thesunken effects associatedwith Whistler’s works. Theruinous after-effects of usingpetrol as a diluent, forexample, are however absentfrom the present intimatesketch. This little portrait,which may have been a studyfor the full-length version, isdistinguished by its frontaldirectness. It reveals theextent to which Lavery’s ‘fairwomen’ of the exertedinfluence over the secondgeneration of Glasgow Boys,such as David Gauld, whosedecorative full-face head

studies emergedalmostsimultaneously.[5]

Nevertheless whenLavery showed astriking profileportrait of Esther in1895 as A Lady inBlack (unlocated),Frederick Wedmore,grouping him withWhistler andGuthrie, praised the‘artistic feeling’ of

all three, declaring that ‘withthem all, if a portrait is not inevery case a likeness, it is atall events a picture’.[6] Thetwo leading Glasgow Schoolportrait painters were, at thispoint, linked in adetermination to exploreabstract harmony within agenre that was threatenedmore than any other by thearrival of photography. In this,the pretty daughter of theLord Advocate for Scotlandwas undoubtedly an asset.

We are grateful to ProfessorKenneth McConkey for hisassistance in cataloguing thislot.

[1] John McLaren, (1831-1910)Liberal Member of Parliament andLord Advocate for Scotland and hiswife, Ottolie Augusta Schwabe,(1835-1914) had three daughters,

Fig 1 Esther and Katherine, Daughters of LordMcLaren, 1891-2. City Art Centre, Edinburgh

Fig 2 A Lady in Brown, 1893-4.Private Collection

one of whom was the sculptor,Ottilie Helen Wallace (1875-1947).[2] Kenneth McConkey, JohnLavery, A Painter and his World,2010 (Atelier Books), p. 59, 219-220.Esther Joanna Marie McLaren(c1871-5 -1950) and her elder sister,Katherine (1870-1966) were bothpainted separately on otheroccasions by Lavery. Esther marriedAlan Blackburn in 1899, whenLavery presented her with a smallsketch of a family picnic atGlencarron.[3] Lavery’s first portrait of JohnMcLaren, a three-quarter lengthshown at the Salon in 1893, remainsunlocated. A second portrait datingfrom 1899 is contained in theScottish National Portrait Gallery,Edinburgh.[4] A McLaren family legend has itthat Esther had a brief romanticattachment to Lavery. SeeMcConkey, 2010, p. 220.[5] During the early nineties, theGlasgow dealer, Thomas Lawrie,staged a number of ‘Fair Women’exhibitions featuring Lavery’s work.[6] Frederick Wedmore, ‘SomePortraits of the Season’, The Studio,vol V, 1895, p. 123.

113 FE261/1SIR JOHN LAVERY R.A.,R.S.A., R.H.A., P.R.P., R.O.I.,L.L.B. (IRISH 1856-1941)STUDY OF ESTHERMCLARENSigned and inscribed ‘ToEsther McLaren’, oil oncanvas

35.5cm x 31cm (14in x 10in)

Provenance:The sitter and thence by familydescent

£15,000-20,000


Fine Paintings

85

Among the many attractionsof the Glasgow InternationalExhibition in 1888 werecooking demonstrations, bandperformances, a militarytattoo, displays of fireworksand in August, a State Visit ofQueen Victoria. John Lavery,an unofficial ‘artist-in-residence’ at the exhibition,was on hand to record theseevents for posterity, at thesame time as painting scenesin the exhibition halls, kiosks,cafés, and at the Bishop’sPalace, specially constructedto display the relics of Mary,Queen of Scots.[1] Above thislatter building, the Bishop’sCafé on the hillsideoverlooking the park, was anideal vantage point fromwhich to launch fireworks.Although it is difficult to becertain of his position on thenight, it is likely that thepresent picture was paintedfrom close to the Bachelor’sCafé further along the bankfrom the palace, at the farend of the exhibition park,close to the perimeter of theuniversity, and overlooking awide stretch of the riverKelvin. From here Laverycould see the lanterns on oneor two pleasure boats mooredin the river, as well as romancandles illuminating one ofthe bridges linking the mainexhibition hall to the tobaccoand flower kiosks. Overhead,the sky was lit by explodingrockets.

On one occasion the displayaccompanied a mock battle,


Fine Paintings

86

celebrated in doggerel in TheBaillie.

… Then from itsBattlementsThe Bishop’s Café – lo!Sent forth a scathing firepell-mell,Of shell-less shot-lessshellUpon the Bungalow …[2]

The reason for Lavery’scontinued presence at theexhibition has been thesource of some speculation,but it is likely that he wasunder contract to theenterprising dealer, WilliamCraibe Angus. In October1888, one month before thefinal closure of the exhibition,Lavery staged a show of fiftyGlasgow Internationalsketches. These werepraised in the local press as

‘impressions’ that were also‘strikingly effective works ofart’. ‘Even in the slightest’, weare told,

… he is never weak orcommon, and … he hasnever repeated himself,either in the matter ofscene, arrangement, colouror effect.[3]

Of necessity Fireworks overthe Kelvin is one of the mostabstract and swiftly executedof the entire series. Neverbefore had Lavery been facedwith such a challenge.Painting cascades of fallingsparks was one thing, but onealso had to observe theillumination of drifting cloudsof smoke as they encircledbuildings, bridges and riverbanks, sunk in darkness. Inthe moment, Lavery is

unlikely to have thought ofTurner, but he would surelyhave known that it was apainting of fireworks,Nocturne in Black and Gold:The Falling Rocket, (fig 1) hadled James McNeill Whistlerinto court in 1878 in hisfamous libel case againstJohn Ruskin.[4] Whistler hadbeen accused of ‘hurling a potof paint in the public’s face’.

Was Lavery now doing thesame? There is no sense thatthe enlightened Glasgowaudience failed tocomprehend Lavery’ssketches, and no evidence tosuggest that his challengingpicture of fireworks over theKelvin was accepted asanything less than a truerecord of an exciting, if noisyoccasion.

We are grateful to ProfessorKenneth McConkey for hisassistance in cataloguing thislot.

[1] For a fuller account of Lavery’swork at the Glasgow Internationalsee Kenneth McConkey, JohnLavery, A Painter and his World,2010 (Atelier Books), pp. 40-8.[2] Quoted from Stanley K Hunter,Kelvingrove and the 1888 Exhibition,1990 (Privately Printed), p. 188. The‘Bungalow’ was the Royal BungalowDining Room.[3] The Baillie, 3 October 1888, p. 11;quoted in Kenneth McConkey, SirJohn Lavery RA, 1856-1941, 1984(exhibition catalogue, Fine ArtSociety and Ulster Museum),pp. 36-7.[4] Eighteen months prior to theGlasgow Interantional, Lavery andWhistler had met in Piccadilly andspent the evening together. Theyoung painter would have knownabout the notorious case.

Fig 1 James McNeill Whistler, Nocturne in Blackand Gold: The Falling Rocket, 1876, Detroit Instituteof Arts

114 FG82/17SIR JOHN LAVERY R.A.,R.S.A., R.H.A., P.R.P., R.O.I.,L.L.B. (IRISH 1856-1941)FIREWORKS OVER THEKELVIN: GLASGOWINTERNATIONAL EXHIBITION,1888Signed and dated ‘88, oil oncanvas

54cm x 35.5cm (21.25in x 14in)

£30,000-40,000


Fine Paintings

87

115§ FG82/29SIR GEORGE PIRIE R.S.A.,R.S.W., L.L.D.(SCOTTISH 1864-1946)STUDY OF A TERRIERSigned, oil on board

14cm x 23cm (5.5in x 9in)

£800-1,200


Fine Paintings

88

116 FG105/1DAVID GAULD R.S.A.(SCOTTISH 1865-1936)A FRENCH WATERMILLSigned, oil on canvas


£1,500-2,000

117STUART PARK(SCOTTISH 1862-1933)VIOLASSigned, oil on canvas

38cm x 30.5cm (15in x 12in)

£2,000-3,000


Fine Paintings

89

118 FE188/11STUART PARK(SCOTTISH 1862-1933)STILL LIFE OF PINK ROSESSigned, oil on canvas

38cm x 30.5cm (15in x 12in)

£1,000-1,500

119 FE188/25STUART PARK(SCOTTISH 1862-1933)STILL LIFE OF RED ANDYELLOW ROSESOil on canvas


£2,000-3,000


Fine Paintings

90


Fine Paintings

91

120 FG82/22WILLIAM KENNEDY(SCOTTISH 1859-1918)FEEDING THE ANIMALSSigned and dated 1886, oil oncanvas


£5,000-7,000

When the group that wouldcome to be called theGlasgow Boys was still in itsembryonic stages, WilliamKennedy was part of thestrand that included Sir JohnLavery, Thomas Millie Dowand Alexander Roche. Thisearly sub-group was formedin the art ateliers of Paris inthe 1880s, being among thefirst of their contemporariesto study on the continent.Kennedy, a Scot, had begunhis training in Paisley ArtSchool before heading toParis where he studied underJules Bastien-Lepage, anartist in the Naturalisttradition who is consideredamong the Boy’s greatestinfluences.

Kennedy, Lavery, Roche andMillie Dow first travelled toGrez-sur-Loing in 1883. Twohours by train from Paris, theriverside town claimed statusas an artistic and literarycolony from the 1870sonwards, attracting the likesof Robert Louis Stevensonand John Singer Sargent.With a 12th century church, amill, a quaint main street anda river running through it,Grez contained all thestimulus the Boys required.Here the young men felt ableto observe the lesson of theirmaster Bastien-Lepage whoadvocated the immersion ofthe artist into the societywhich he hoped tonaturalistically depict,becoming part of the localcommunity as opposed to anoutside observer. While here,

Kennedy and his fellowsbegan practising large scaleen plein air subjects.

Only a few of Kennedy’ssurviving works have beentraced back to his time spentin Grez and this painting –though not fully resolved withits visible pentimentosurrounding the figure’s headand torso – is likely to be onesuch rare example. ArthurMelville had also spent sometime in Grez in 1880 and hadtackled the subject of thesingle peasant figure. Here

focus to the compositionalstructure.

Though posterity hasaccorded him a quieterreputation than his fellowartists of the school, Kennedywas highly regarded by theother Glasgow Boys, as wasevidenced by his election aspresident of their “short-lived” society in 1887.[1]

[1] p.124. ‘Pioneering Painters: TheGlasgow Boys’, Glasgow MuseumsPublishing, 2010.

Kennedy takes up the motif,depicting a young local girlfeeding a flock of birds. Thetwo hotels frequented by theartist – the Chevillon andLaurent – both had gardensthat stretched down to theLoing river. It is likely that oneor other was the setting forthis picture. We can alsodetect similarities to his bestknown work from the period,‘Spring’ (1884), in the sharedpalette of blue greens, theuse of the grass to exploretexture and the left of centre

121 FG82/27JAMES PATERSON R.S.W.,R.S.A., R.W.S.(SCOTTISH 1854-1932)A SUMMER STROLLSigned and inscribed‘Roseneath’, watercolour

30.5cm x 42cm (12in x 16in)

£2,000-3,000


Fine Paintings

92

Many of the Glasgow Boysfirst met one another duringlife classes held in thestudios of W.G. McGregor.Though keen to keep abreastof developments within thenewly created scene, sociallyand artistically, Paterson wassomewhat separate from hisfellow group members, bothcircumstantially andideologically. He was from anaffluent background and didnot share the sameconstraints felt by the otherBoys. Furthermore, though

figuration was central to thework of his fellow groupmembers like Guthrie andWalton, Paterson was mainlyinterested in landscape in itspure form. Several yearsolder than many of the otherBoys, he became the first tomarry, moving away from thehub of Glasgow to settle downin the small town of Moniaivein Galloway in 1884.

Accounts of Paterson paint apicture of a man ofcontradictions; he was by

beyond which are vibrant andmore loosely handled. Thisapproach – both focused andimpassioned – is arguably thekey strength of his deeplyatmospheric work, hispaintings evoking the senseof having captured aparticular moment and moodin time.

turns serious and romantic, ahomebody and a great loverof travel. We can perhapsgather as much from hisartwork; his oils arepainstakingly crafted and hiswatercolours, thoughobviously still carefullydesigned and executed, aregenerally more spontaneousand colourful. Likewise, thepaintings of his chosencorner of the world Moniaiveare considered and reflective,in contrast to those depictinghis travels to Tenerife and

James Paterson

122JAMES PATERSON R.S.W.,R.S.A., R.W.S.(SCOTTISH 1854-1932)BREAKING WAVES, ORATEVASigned and inscribed‘Tenerife’, watercolour

53cm x 75cm (21in x 29.5in)

£7,000-10,000


Fine Paintings

93


Fine Paintings

94

In the mid to late 1880s, whenWalton painted In the Byreand Schoolmates, he was atthe peak of his career. He hadabsorbed the techniques ofMillet and Bastien-Lepageand had been able to observethe new Impressionist ideasconcerning colour and light.Walton was a leading figureamong the group now knownas the Glasgow Boys and heenjoyed mutually inspiringfriendships with Guthrie,Crawhall and Kennedy, inparticular, at this time.

Depictions of traditional rurallife were now more importantthan generic landscapepainting. The figure in thelandscape, in harmony withnature was a powerful motifand the Walton producedsome of the most resonantexamples of the period. Incertain paintings by theGlasgow Boys, we see theplight of the rural poor but inmost cases, there is a senseof respect, even nostalgia foragricultural life during aperiod that had seen rapidindustrialisation. Childrenwere especially idolised fortheir purity. For Walton therewas no more perfect subjectthan that of the innocentchild, unaware that he or sheis being observed, surroundedby nature.

Early in his career, and aheadof his peers, Walton chose to

utilise watercolour forfinished paintings that wereintended for exhibitions ratherthan being purely a mediumfor preparatory studies. Inthe Byre relates closely to oneof Walton’s most importantwatercolours, The Herd Boy(National Gallery of Scotland).In the Byre may have beenpainted at Cockburnspath, afarm in the Scottish Borderswhich was almost an artists‘colony. Walton visited thevillage between 1883-1885,and there, he and Guthriepainted cattle, pigs, fowl,donkeys and markets, usuallyincluding one figure,occasionally two figures butrarely with much interactionbetween them. They are quietpaintings, offering a feeling ofrepose and introspection.

Schoolmates may also havebeen painted atCockburnspath but from theimpressionist style, it seemslikely that it was executedslightly later atCambuskenneth, near Stirlingwhere Walton had a studiobetween 1888-1894.Schoolmates relates closelyto two works dating to 1884;James Guthrie’s majorpainting, also titledSchoolmates (Musée desBeaux-Arts, Ghent) andPlaymates by George Henry(Private Collection). Thecomparison with the Guthrieis particularly direct, in both

paintings two children walkside-by-side and are seen inprofile. Guthrie’s paintingincludes a third older childleading the group and is moredetailed. By painting thechildren from thisperspective, one child ispartly concealed by the other.It is not a traditionalcomposition but with thisplacement of figures, there isa naturalism to the pose. Thestaccato brushwork inWalton’s painting perfectlyconveys dappled light and asense of movement. Theoverall impression is oftranquil companionship.

Edward Arthur Walton


Fine Paintings

95

123FG82/6EDWARD ARTHUR WALTONR.S.A., R.S.W., R.W.S.(SCOTTISH 1860-1922)THE SCHOOLMATESSigned, oil on canvas


Exhibited:Walton Exhibition 1923

£40,000-60,000

124 FG82/36EDWARD ARTHUR WALTONR.S.A., R.S.W., R.W.S.(SCOTTISH 1860-1922)IN THE BYRESigned, watercolour

35.5cm x 46cm (14in x 18in)

£6,000-8,000


Fine Paintings

96

125THOMAS MILLIE DOW R.S.W.(SCOTTISH 1848-1919)A VENETIAN CANAL SCENEWITH GONDOLASSigned with initials,watercolour

48cm x 65cm (19in x 25.5in)

£1,000-1,500


Fine Paintings

97

98

127§ FE188/26SPENCE SMITH R.S.A.(SCOTTISH 1880-1951)A WOODED RIVERLANDSCAPESigned, oil on canvas


£1,500-2,000

Various Artists

126 FE188/5WALLER HUGH PATONR.S.A., R.S.W.(SCOTTISH 1828-1895)ON THE TAY AT MURTHLYSigned and dated 1870, oil onpanel


£4,000-6,000

128 FF411/2WILLIAM ALFRED GIBSON(SCOTTISH 1866-1931)QUIET WATERSigned, indistinctly inscribedand dated 1-1-1919, oil onboard

24cm x 32cm (9.5in x 12.5in)

£800-1,200


Fine Paintings

99

129 FG25/2ARTHUR PERIGAL R.S.A.,R.S.W.(SCOTTISH 1816-1884)GLEN LEDNOCH,PERTHSHIRESigned and dated 1868, oilon canvas

84cm x 134cm (33in x 52.75in)

£1,500-2,000


Fine Paintings

100

130§ FF39/8HENRY JOHN LINTOTT R.S.A.(BRITISH 1878-1965)SEA-WINDOil on board


Exhibited:Royal Academy 1941Russell Cotes Art Gallery,Bournemouth, Exhibition of worksby eminent living artists, 1945

£1,000-1,500


Fine Paintings

101

131§ FF39/9HENRY JOHN LINTOTT R.S.A.(BRITISH 1878-1965)MAY DANCEOil on canvas


£1,000-1,500

132§ FF39/7HENRY JOHN LINTOTT R.S.A.(BRITISH 1878-1965)SPRING-TIMEOil on canvas


£1,000-1,500

133FD756/1HORACE WESTON TAYLOR(AMERICAN 1881-1934)CONTEMPLATIONSigned, gouache

31cm x 25.5cm (12in x 10in)

£1,000-1,500


Fine Paintings

102

134 FF185/1PATRICK WILLIAM ADAMR.S.A. (SCOTTISH 1854-1929)JAPANESE ANENOMESOil on canvas, inscribed on alabel verso

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

£1,000-1,500

135 FE188/14WILLIAM WELLS(SCOTTISH 1872-1923)WAITING FOR THE FLEETSigned, oil on board

23cm x 13.5cm (9in x 5.5in)

£1,500-2,000


Fine Paintings

103

136 FC697/2WILLIAM KAY BLACKLOCK(BRITISH 1872-1924)PREPARING THE MID-DAYMEALSigned, watercolour

29cm x 21.5cm (11.5in x 8.5in)

£800-1,200

137 FD753/1ROBERT GEMMELLHUCHISON R.B.A., R.O.I.,R.S.A., R.S.W.(SCOTTISH 1860-1936)IN THE SHALLOWSSigned, oil on panel

18cm x 25.5cm (7in x 10in)

£4,000-6,000


Fine Paintings

104

138 FF151/78ROBERT GEMMELLHUTCHISON R.B.A., R.O.I.,R.S.A., R.S.W.(SCOTTISH 1860-1936)AMONGST THE BENTSSigned, oil on board

16cm x 23cm (6.5in x 9in)

£2,000-3,000

139§ LT2013/36HENRY SCOTT(BRITISH 1911-2005)STUDY OF THE TRADEWINDS TEA CLIPPER‘SPINDRIFT’Signed, oil on canvas


Note:The Spindrift was built by Connell &Co of Glasgow in 1867. Shemeasured 219 feet in length with a35 foot beam and was registered at889 tons.

£3,000-5,000


Fine Paintings

105


Fine Paintings

106

140§ FD726/2JOHN MCGHIE(SCOTTISH 1867-1952)THE OLD FISHWIFESigned, oil on canvas


£1,500-2,000

141§ FG66/2ROBERT RUSSELL MACNEEG.I. (SCOTTISH 1880-1951)CHICKENS IN A FARM YARDSigned, oil on board

24cm x 29cm (9.5in x 11.5in)

£800-1,200

143ROBERT GEMMELLHUTCHISON R.B.A., R.O.I.,R.S.A., R.S.W.(SCOTTISH 1860-1936)DRYING WASHINGOil on board


£2,000-3,000


Fine Paintings

107

142 FF39/18ROBERT ALEXANDERR.S.A., R.S.W.(SCOTTISH 1840-1923)BY THE HEARTHSigned, oil on canvas

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

£800-1,200

144§ FG66/1WILLIAM MILLER FRAZERR.S.A. (SCOTTISH 1864-1961)CHILDREN ON THE BEACH,MACHRIHANISHSigned, oil on canvas


£2,500-3,500


Fine Paintings

108

145§ FE430/45SIR PETER SCOTT(BRITISH 1909-1989)FLIGHTING GEESESigned and dated 1969, oil onboard


£3,000-5,000

146§ FF36/1JOHN MCGHIE(SCOTTISH 1967-1952)SAILING THE TOY BOATSigned, oil on canvas


£4,000-6,000


Fine Paintings

109

James McIntosh Patrick isfrequently referred to asScotland’s foremostlandscape artist of the 20thcentury. Success camerelatively early and, by hisdeath in 1998, Patrick was ahousehold name and arguablyone of the most famousScottish artists of the lastcentury. A Dundonian by birth,his passion for his nativecounty of Angus was reflectedin his many depictions of thearea. His colourful,traditionalistic approach tothe landscape genre foundhim favour among academics,critics, collectors and gallerygoers alike.

As with many artists of theperiod, the Second World War


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110

147§ FG82/18JAMES MCINTOSH PATRICKR.S.A., R.O.I., A.R.E., L.L.D.(SCOTTISH 1907-1998)GLAMIS VILLAGE FROM THERIVERSigned and dated ‘46, pen andink and watercolour

37cm x 55cm (14.5in x 21.5in)

£5,000-7,000

was to impact significantly onPatrick’s style and his pre andpost-war output are easilydistinguishable. His war timeactivities took him close tofront line action and Patrick,who had previously foundworking from the studiosuited his fastidiousapproach, took to sketchingon the spot. His brushworkwould loosen as a result andhe would ever after chose towork en plein air; his style,though still retaining itstrademark attention to detail,becoming more painterly andimpressionistic from then on.

Two of the landscapesfeatured in this sale areexamples of his earlier style.Here his influences are far

removed from impressionismand indeed the 20th centuryaltogether. Instead, we see adebt to the Old Masters,particularly Rubens,Rembrandt and, mostobviously of all, Breugel.Patrick initially made hisname as an etcher until themedium’s fall from favour inthe 1930s. The accuracy andfine detail demanded by theetching plate is clearly visiblein his early landscape oilsand watercolours. LikeBreugel, Patrick’s work fromthis period is characterisedby its vastly sweeping, almostpanoramic scope, counteredwith exquisite detail – fromthe moss on a wall to theglisten of a crow’s wing. Hisadoption of an unusually

skewed, often elevatedperspective lends these earlyworks a medieval, fairytale-like reading.

Also in common withBreugel, Patrick frequentlyfavoured a cultivatedlandscape to a wilderness,and even in his 1934masterwork ‘The ThreeSister’s of Glencoe’, a gypsywagon can be observedbattling its way through thesnow. In the examples shownhere, his interest in man’srelationship with the land ishighly evident as is thepervading sense that Patrickwas seeking to capture andidealise a transitory momentin the history of ourlandscape.

James McIntosh Patrick

148§ FG104/1JAMES MCINTOSH PATRICKR.S.A., R.O.I., A.R.E., L.L.D.(SCOTTISH 1907-1998)NEAR LUNDIE, ANGUSSigned, watercolour

53.5cm x 73.5cm (21in x 29in)

£2,000-3,000


Fine Paintings

111

149§ FF85/1JAMES MCINTOSH PATRICKR.S.A., R.O.I., L.L.D.(SCOTTISH 1907-1998)MILL NEAR BRECHINSigned and dated ‘40,watercolour

26.5cm x 39cm (10.5in x 15.5in)

£1,000-1,500

150§ FE212/1JAMES MCINTOSH PATRICKR.S.A., R.G.I., R.O.I.(SCOTTISH 1907-1998)MYLNEFIELD, CARSE OFGOWRIE, PERTHSHIRESigned, inscribed with titleand dated gallery label verso,oil on canvas

63.5cm x 74cm (25in x 29in)

Exhibited:The Fine Art Society, 1964

£4,000-6,000


Fine Paintings

112

151STANLEY FARADAY PINKER(SOUTH AFRICAN 1924-2012)THE PARASOLSigned, oil on board

33.5cm x 20cm (13.25in x 8in)

£10,000-15,000


Fine Paintings

113

Stanley Faraday Pinker (1924-2012) was born in Windhoek,Namibia. His art makesoblique comment on personaldisplacement as a result ofthe political angst of apartheidSouth Africa. Pinker hasexhibited extensively in bothSouth Africa and the UK, andhis paintings have steadilygrown in popularity at auctionglobally.Pinker studied at theContinental School of Art inCape Town under Maurice vanEssche, and also at theHammersmith school of Artunder Alistair Grant. VanEssche was a student of HenriMatisse and it is thereforeunsurprising that this residualinfluence can be detected inPinker’s references toCubism. His exposure to theworks of Matisse via VanEssche combined with adecade spent in Europeresulted in Pinker drawinginspiration from othermoderns such as Braque andKlee.

As a white European born in acolony Pinker was uncertainthat he belonged in Africa andin 1951 he left for Europe. Helived here for twelve years,exhibiting in group shows withartists such as Ceri Richardsand Prunella Clough, beforehis friendship with Van Esscheled to employment in 1969 atthe Michaelis School of FineArt in Cape Town where hetaught until 1986. AlthoughPinker’s artistic career

spanned over fifty years itwas only once he was back inSouth Africa that his artbegan to truly flourish.

Because of his time in Europehe was able to engage moreobjectively with thecharacters and contradictionof South African life as wellas with the history ofEuropean painting. As apainter he absorbedmodernist principles, butconceptually his workengaged with South Africanidentity, environment, and itstumultuous history.Initially Pinker’s paintingswere almost entirelyconcerned with landscape butby the 1960’s, as hisknowledge of societalcomplexities within SouthAfrica grew, he began tointroduce figures, as seen inthis painting. His decision tobreak away from idealisedlandscapes and move towardsfiguration made his work lessspecific of place and morespecific to personal identityand narrative. His crypticallusions to apartheid neverover-rode the general senseof decorative elegance in hiswork, which set him apartfrom many artists working atthis time when overtreference to the politicalsituation was the norm. Afterthis figurative phase Pinkerturned to a more conceptualapproach to painting with ahighly individual andparticular style.

152 FG27/1ERROL STEPHEN BOYLEY(SOUTH AFRICAN 1918-2007)VIEW FROM NEWLANDSSigned, oil on board

35.5cm x 51cm (14in x 20in)

£1,000-1,500


Fine Paintings

114

153FE465/5TERENCE JOHN MCCAW(SOUTH AFRICAN 1913-1978)AFRICAN VILLAGESigned, oil on canvas


£2,000-3,000

154§ FE188/2WILLIAM MILLLER FRAZERR.S.A. (SCOTTISH 1864-1961)ON THE OUSE,CAMBRIDGESHIRESigned, inscribed and datedJune 1934 on the frame verso,oil on board

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

£1,000-1,500


Fine Paintings

115

155 FG40/1ADRIAAN HENDRIKBOSHOFF(SOUTH AFRICAN 1935-2007)VEGETABLE SELLERSigned, oil on board


£2,000-3,000


Fine Paintings

156§AUGUSTUS EDWIN JOHNO.M., R.A. (WELSH 1878-1961)THE POLICEMANSigned, pencil sketch

23cm x 28.5cm (9in x 11.25in)

Exhibited:The Fine Art Society, London

Provenance:The Amaryllis Fleming Collection

£1,000-1,500

116

158§DAME LAURA KNIGHT R.A.,R.W.S. (BRITISH 1877-1970)DANCING AT QUAGLINO’SSigned and inscribed, pen andwash, unframed

19cm x 22cm (7.5in x 8.5in)

£800-1,200

157§AUGUSTUS EDWIN JOHNO.M., R.A. (WELSH 1878-1961)STUDY FOR ‘GALWAY’Signed, pencil sketch

24.5cm x 36cm (9.75in x 14.25in)

Exhibited:The Fine Art Society, London

Provenance:The Amaryllis Fleming Collection

Note:This work is a study for John’s largest mural. Painted in1915, it is a study of Galway City in the West of Ireland.

£1,000-1,500

159§ FC827/1AUGUSTUS EDWIN JOHNO.M., R.A. (WELSH 1878-1961)MAGNOLIASigned, oil on canvas


Provenance:Thelma Cazalet-Keir. A bequest tothe Royal Scottish Academy in 1989in memory of her mother and latehusband Daniel Edwin Muir

£10,000-15,000


Fine Paintings

117

160§ LT2013/32SIR WILLIAM RUSSELLFLINT P.R.A., P.R.W.S.,R.S.W., R.O.I., R.E.(SCOTTISH 1880-1969)THE CORNER HOUSESigned, watercolour

50cm x 68cm (19.5in x 26.75in)

£4,000-6,000


Fine Paintings

118

161§ LT2013/33SIR WILLIAM RUSSELLFLINT P.R.A., P.R.W.S.,R.S.W., R.O.I., R.E.(SCOTTISH 1880-1969)THE MILL AT BARBASTESigned, signed and inscribedon the backboard,watercolour

48.5cm x 67.5cm (19in x 26.5in)

£4,000-6,000

162§ FG82/26SIR WILLIAM GEORGEGILLIES C.B.E., L.L.D., R.S.A.,R.S.W., R.A.(SCOTTISH 1898-1973)ON THE HARBOUR QUAYSigned, pencil andwatercolour

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

£2,500-3,500


Fine Paintings

119

163§SIR WILLIAM GEORGEGILLIES C.B.E., R.A., R.S.A.,R.S.W., L.L.D.(SCOTTISH 1898-1973)NEAR BURNHOUSESigned and dated ‘58, penciland watercolour

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

£2,000-3,000


Fine Paintings

120

164§SIR WILLIAM GEORGEGILLIES C.B.E., R.A., R.S.A.,R.S.W., L.L.D.(SCOTTISH 1898-1973)HARVEST, LYNESigned and dated 1953, penciland watercolour

39.5cm x 57cm (15.5in x 22.5in)

£3,000-5,000

165§ FE91/1SIR WILLIAM GEORGEGILLIES C.B.E., L.L.D., R.S.A.,R.S.W., R.A.(SCOTTISH 1898-1973)WINTER BOUQUETSigned, signed, inscribed anddated 1940 on a label verso,oil on canvas

67cm x 87.5cm (26.5in x 34.5in)

Exhibited:Scottish Arts Council, W.G.GilliesRetrospective, no.46

£3,000-5,000


Fine Paintings

121

166§ FG82/2JOHN MACLAUCHLAN MILNER.S.A. (SCOTTISH 1886-1957)OVERLOOKING THE BAYSigned, watercolour

35.5cm x 46cm (14in x 18in)

£3,000-5,000


Fine Paintings

122

167§ FG82/24JOHN MACLAUCHLAN MILNER.S.A. (SCOTTISH 1886-1957)PITTENWEEMSigned, watercolour


£2,000-3,000

168§ FG82/4JOHN MACLAUCHLAN MILNER.S.A. (SCOTTISH 1886-1957)BARGES ON THE SEINE,PARISSigned, oil on board

35.5cm x 46cm (14in x 18in)

£30,000-40,000


Fine Paintings

123

169§ FE499/6DAVID SAWYER R.B.A.(BRITISH 20TH CENTURY)WINTER SUNSET ACROSSTHE LAGOONSigned, oil on board


£1,000-1,500


Fine Paintings

124

170§ FE499/24DAVID SAWYER R.B.A.(BRITISH 20TH CENTURY)ON THE BEACH,PERRANPORTHSigned, oil on board

51cm x 101cm (20in x 40in)

£1,000-1,500

171§ANNE REDPATH O.B.E.,R.S.A., A.R.A., L.L.D., R.O.I.,R.B.A. (SCOTTISH 1895-1965)EYEMOUTHSigned, watercolour

48.5cm x 61cm (19in x 24in)

Provenance:Mercury Gallery, London, 1983

£2,500-3,500


Fine Paintings

125

172§ FB791/80KEN HOWARD R.A.(BRITISH b. 1932)BEACH AT MARAZIONSigned, inscribed and dated1999 verso, oil on board

24cm x 30cm (9.5in x 12in)

£800-1,200


Fine Paintings

126

173§ FB791/82KEN HOWARD R.A.(BRITISH b. 1932)EVENING LIGHT, VULCANO,SABBIE NERESigned, inscribed and datedon a label verso,’07.06.09’, oilon board

25.5cm x 30cm (10in x 12in)

£800-1,200

174§ FE472/1DENIS PEPLOE R.S.A.(SCOTTISH 1914-1993)FISHING BOATS, SPAINSigned, oil on board


£2,500-3,500


Fine Paintings

127


Fine Paintings

128

175§ FF151/72SIR ROBIN PHILIPSON R.A.,P.P.R.S.A., R.S.W., R.G.I.,L.L.D., D.LITT(SCOTTISH 1916-1992)POPPIES ON A BLUEGROUNDSigned and dated 1983 on alabel verso, oil on board

106.5cm x 183cm (42in x 72in)

Exhibited:Edinburgh College of Art, RobinPhilipson Retrospective 1989, no.139

£30,000-40,000


Fine Paintings

129

particular: ‘What attracted meto poppies was theirsplendour – the sheer powerand yet the delicacy of theircolour’. Although not directlyintending any symbolism inhis paintings, Philipson wouldhave been aware of the strongassociation the poppy haswith opium, sleep and peace.The poppy flower with itsambiguous combination ofstrength and fragility, fits inparticularly well with theethereal feeling that runsthrough all of Philipson’s keythemes, from the ‘observed’figures to religious subjects.The series of poppy paintings,many of which are impressivein scale, are amongstPhilipson’s most successfuland popular works.

A jug holding OrientalPoppies, their petals likewhite crepe paper pinnedtogether by the deep blue oftheir stamens. Oneunassuming red poppy amongthe bunch brings a splash ofwarmth to an otherwise cool-toned painting. Still lifepaintings often featurecolourful blossoms but here,it is the vivid blue backgroundthat contributes colour whilethe deluge of flowers bringspattern to the composition.The dramatically vibrantbackground has a luminousquality, almost as though it isone of Philipson’s stainedglass studies.

The artist produced a seriesof still life paintings in the1980s and becamepreoccupied with the poppy in

176§ FF151/43SIR ROBIN PHILIPSON R.A.,P.P.R.S.A., R.S.W., R.G.I.,L.L.D., D.LITT(SCOTTISH 1916-1992)MEN OBSERVEDSigned verso, oil on canvas


Exhibited:Edinburgh College of Art, RobinPhilipson Retrospective 1989, no.117

£2,000-3,000


Fine Paintings

130

177§ FF151/42SIR ROBIN PHILIPSON R.A.,P.P.R.S.A., R.S.W., R.G.I.,L.L.D., D.LITT(SCOTTISH 1916-1992)COMPANIONS IIInscribed and dated 1985 on alabel verso, pastel


Exhibited:The Scottish Gallery, RobinPhilipson Memorial Exhibition, no.31

£600-900

178§ FE781/3JACK VETTRIANO(SCOTTISH b. 1950)STUDY FOR LUCKY NO.7Signed, oil on canvas


Note:Lucky No.7 was exhibited in TheBallroom Spy, 2011

£3,000-5,000


Fine Paintings

131

179§ FE781/1JACK VETTRIANO(SCOTTISH b. 1951)STUDY FOR RUMBA INBLACKSigned, oil on canvas


Note:Rumba in black was exhibited in TheBallroom Spy, 2011

£3,000-5,000


Fine Paintings

132

180§ FE781/2JACK VETTRIANO(SCOTTISH b. 1950)STUDY FOR STARRY, STARRYNIGHTSigned, oil on canvas

38cm x 30icm (15in x 12in)

Note:Starry, Starry Night was exhibited atThe Ballroom Spy, 2011

£3,000-5,000


Fine Paintings

133

181§ FE736/1NAEL HANNA(SCOTTISH/IRAQI b. 1959)STORMY NIGHT, WEST COASTSigned, oil on canvas

68cm x 98cm (27in x 38.5in)

£1,500-2,000


Fine Paintings

134

182§ FE736/5NAEL HANNA(SCOTTISH/IRAQI b. 1959)THE WHITE VASESigned, oil on canvas


£500-800


Fine Paintings

135

183 FE430/46FRANCIS CAMPBELLBOILEAU CADELL R.S.A.,R.S.W.(SCOTTISH 1883-1937)HALF LENGTH PORTRAIT OFA LADY IN BLACK - LADYSKELTONSigned and dated ‘10, oil oncanvas

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

£5,000-7,000


Fine Paintings

136

184 FF24/1GEORGE LESLIE HUNTER(SCOTTISH 1877-1931)A STILL LIFE OF FRUITSigned, oil on canvas

64cm x 77cm (25.25in x 30.25in)

Provenance:J. Gibson Jarvie Esq

Exhibited:Royal Academy of Arts, London,Exhibition of Scottish Art, 1939,no.565

£60,000-80,000


Fine Paintings

137

This work – a larger thanaverage, fully worked up stilllife dating from 1926 -originally featured in thecollection of George LeslieHunter’s cousin, GibsonJarvie. As Hunter’s friend,dealer and biographer T. J.Honeyman describes,whenever the artist was“properly ‘up against it’, andwas forced to find moneysomehow or somewhere, hisfail-me-never was hiscousin.”[1] Re-payment wasin the form of gifted paintingsand sketches. Thoughobviously a generous manwith a sense of family

responsibility, Jarvie clearlyhad faith in his cousin’sabilities; commissioningHunter to paint a portrait ofhis daughter in 1931, justprior to the artist’s death.

The studios of the bohemianand often shambolic Hunterwere generally a chaos ofartistic materials and props,and the eccentric clutter ofthe arrangement here issuggestive of the space inwhich he was working. HereHunter continues to explorehis favoured motifs of thedrapery. His ability to makesense of the chaos, to makesuch a complex arrangementbalanced and readable,speaks volumes about hisvirtuosity by this stage of hiscareer. His paintings were, atthis time, attracting criticalpraise and in high demandwith the eminent dealers ofGlasgow and Edinburgh. Thisexample is somewhat unusualin its exploration of a specifictonal scheme; his

harmonising of browns, pinksand oranges takingprecedence over his usualclashing colours, lending thework a quiet sophistication.His style, famously describedas “uneven genius”, iscontrolled and decisive here.

Hunter once commented thatas an artist he was compelledto push forward. This workbrims with the ingenuitywhich made his work sodistinctive in its own time andso important in the years thatwould follow. It was exhibitedat the Royal Academy in 1939and remains among the mostsubstantial works by Hunterto appear on the market.

[1] p.67, ‘Introducing Leslie hunter’,by T. J. Honeyman, published Faberand Faber Ltd, 1937

185§ROBERT EADIE R.S.W.(SCOTTISH 1877-1954)ON THE CLYDE ATBROOMIELAWSigned, oil on canvas

102cm x 127cm (40in x 50in)

£4,000-6,000


Fine Paintings

138

186§EARL HAIG O.B.E., R.S.A.(SCOTTISH 1918-2009)RIVER LANDSCAPESigned, oil on panel


Provenance:Redfern Gallery Ltd, London,February 1955

£1,000-1,500

187§ FG35/1MARY ARMOUR R.S.A.,R.S.W., R.G.I.(SCOTTISH 1902-2000)BLUE STILL LIFESigned and dated ‘64, oil oncanvas


£4,000-6,000


Fine Paintings

139

188§SIR WILLIAM GEORGEGILLIES A.R.A., R.S.A.,P.R.S.W.(SCOTTISH 1898-1973)NEAR PEEBLES, 1972Signed, pencil andwatercolour

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

£600-800


Fine Paintings

140

189§SIR WILLIAM GEORGEGILLIES R.A., R.S.A., PR.S.W.(SCOTTISH 1898-1973)ROOFTOPS, TEMPLESigned, watercolour

48.5cm x 56.5cm (19in x 22.25in)

£3,000-5,000

190 FC592/2†FRANCIS CAMPBELLBOILEAU CADELL, R.S.A.,R.S.W. (SCOTTISH 1883-1937)IONA COTTAGESsigned and dated ’19, oil oncanvas board

37cm x 44cm (14.5in x 17.5 in)

Provenance:The Scottish Gallery, EdinburghPhillips, Edinburgh, ‘Fine Paintings’,4th May 1990, Lot 64

Exhibited:Edinburgh, The Scottish Gallery‘20th Century Scottish Masters’,September 1987

£10,000-15,000


Fine Paintings

141

191§ FG12/1JOAN EARDLEY R.S.A.(SCOTTISH 1921-1963)THE MIXER MENOil on canvas

90.5cm x 80cm (35.75in x 31.5in)

Exhibited:Scottish Arts Council, 1975, JoanEardley, lent by Mrs P.H.BlackTalbot Rice Gallery, Joan EardleyRetrospective, 1988, no.4Hayward Gallery, London, JoanEardley Retrospective 1988/89National Galleries of Scotland, JoanEardley, 2008

Literature:Cordelia Oliver, Joan Eardley, 1988,p.18, ill.p.19Fiona Pearson, Joan Eardley, 2007,Ill.no.15

£30,000-50,000

The Mixer Men (1944) is asignificant, rare to marketexample of the artist’sstudent-era artwork.Enrolling at the GlasgowSchool of Art in 1940, Eardleystudied for a diploma indrawing and painting until1943; her talents recognisedeven at this early stage. Areview of her end of yearshow in 1940 noted that herwork had “a fine robustconfidence”. Interestinglythese same adjectives couldcomfortably be applied to hermature work, making itapparent that her distinctiveaesthetic took shape early on.

Government legislation duringthe inter-war yearsdemanded that Eardley andher fellow students take up aprofession. Like many of hercontemporaries, Eardleysigned up for teacher trainingat Jordanhill, only to quicklyconclude after one term thatit wasn’t a profession suitedeither to her temperament orher incessant compulsion topaint. To avoid being ‘calledup’ she took on a job as ajoiner’s labourer. It wasaround this period that herexperiences of the worldimmediately around herbecame the focus of herwork.

For Eardley, 1940s Glasgowwas to prove an importantcultural melting pot. StanleySpencer, whose depictions ofeveryday life were clearly aninspiration, was made an


Fine Paintings

142

official war artist and spentsignificant lengths of timedepicting the Clydesidedocks. Even more formatively,the young artist made theacquaintance of the exiledJosef Herman, a Polish artistwhose work was to resonatestrongly with many Britishartists practising at the time.In his diaries Herman refersto their meetings, recallingEardley’s homemadesketchbook which was “verylarge and awkward tohandle”, and remarking that“from her early efforts it wasdifficult to perceive the fineartist she would become.”Nevertheless, these sessionstogether clearly indeliblyimpacted on Eardley, notablyhere in her adoption of theworker motif.

The Mixer Men is likely todepict her fellow labourers atthe joinery. It’s clashingyellow and blue Fauvistpalette and earthy subjectmatter has led critics todetect the influence of VanGogh’s and his early homagesto the working man. Theheavy limbs and spatial senseof bulk are directly inspiredby the work of both JosefHerman and Henry Moore,whom Eardley also highlyregarded. Here we see theembryonic development ofthe same slightly cartoonishproportions that wouldcharacterise her later work,an element of realism rootedin its cleverly articulated

sense of movement – theweight of the barrow telling inthe sagging set of theshoulders and the firm plantof the feet. Though readingless comprehensively thanher later work, it was her firstattempt at an ambitiouscompositional structure and,as such, represents animportant step in herdevelopment.

The picture was exhibited atthe Royal Glasgow Institutefor Fine Art in 1944, beinghung in prime position “onthe line” of the viewer’s gaze;an achievement indeed for arecent graduate. Wellreceived by critics at the time,the work was praised for itspersonality and freshness. Ithas since been referenced byall of Eardley’s biographersand was included in her 2009retrospective at the NationalGallery of Scotland, beingperceived as a seminalpainting in her stylisticdevelopment in terms ofcolour, line, composition andsubject matter. This salerepresents the rareopportunity to purchase whatis widely viewed as alandmark work in the artist’soeuvre.


Fine Paintings

143

192§JOAN EARDLEY R.S.A.(SCOTTISH 1921-1963)CATTERLINEOil on board

78cm x 101.5cm (30.75in x 40in)

Provenance:The Estate of the Late AlasdairMilne.

£30,000-50,000


Fine Paintings

144

193§JOHN PIPER C.H.(BRITISH 1903-1992)PARK GATES, BLENHEIMSigned, pen and ink,watercolour and gouache


Provenance:The Estate of the Late AlasdairMilne.

£6,000-8,000


Fine Paintings

145

194§JOAN EARDLEY R.S.A.(SCOTTISH 1921-1963)BOY’S HEADSigned with the executor’sinventory number EO.895,pencil and chalk


£5,000-7,000


Fine Paintings

146

195§JOHN DUNCAN FERGUSSONR.B.A. (SCOTTISH 1874-1961)KATHLEEN DILLONMORRISONCharcoal

23cm x 16cm (9in x 6.25in)

Exhibited:Leicester Galleries, London,J.D.Fergusson 1964, no.38

£1,500-2,000

196§ FF432/1JOHN MACLAUCHLAN MILNER.S.A. (SCOTTISH 1886-1957)STILL LIFE OF TULIPS ANDNARCISSISigned, oil on board


£3,000-5,000


Fine Paintings

147

197§ FB791/14JOHN BELLANY H.R.S.A.,R.A., C.B.E.(SCOTTISH b. 1942)SNAKE HEADSigned, oil on canvas,unframed


£2,000-3,000


Fine Paintings

148

198§ FB791/19JOHN BELLANY H.R.S.A.,R.A., C.B.E.(SCOTTISH b. 1942)THE CHURCH AT CROMARTYSigned, oil on canvas,unframed

101.5cm x 76cm (40in x 30in)

£2,000-3,000


Fine Paintings

149

199§ FE499/34JOHN BOYD R.P., R.G.I.(SCOTTISH 1940-2001)ET IN ARCADIA EGOSigned and inscribed, oil oncanvas

122cm x 152.5cm (48in x 60in)

£3,000-5,000


Fine Paintings

150

200§ FF116/1SIR WILLIAM MACTAGGARTP.R.S.A., R.A., R.S.W.(SCOTTISH 1903-1981)THE EBB TIDESigned, oil on board


£4,000-6,000


Fine Paintings

151

201§ FE499/40VICTORIA CROWE O.B.E.,F.R.S.E., R.S.A., R.S.W.(SCOTTISH b. 1945)WINTER REFLECTIONSSigned, mixed media


£1,500-2,500


Fine Paintings

152

202§ FE499/37DAME ELIZABETHBLACKADDER D.B.E., R.A.,R.S.A., R.S.W., R.G.I., D.LITT(SCOTTISH b. 1931)ORCHIDSSigned and dated 1983,watercolour


£4,000-6,000


Fine Paintings

153


Fine Paintings

154

203 FF148/2SAMUEL JOHN PEPLOER.S.A. (SCOTTISH 1871-1935)IONASigned, oil on panel


£30,000-50,000


Fine Paintings

155

It is worth appreciating theaccuracy of Peploe andCadell’s Iona paintings. In thetwentieth century painterswere increasingly keen toemphasise the essence of alandscape without muchinterest in topographicaldetails, however, both Peploeand Cadell paid a great dealof attention to the rockformations on Iona and thepositions from which theypainted can still be identifiedtoday.

When painting the presentwork, Peploe set up his easeland stool on the white sandsat the most northern tip ofIona. In the background is thenorth-western coastline ofMull with the cliffs ofTreshnish Point outlined atthe left. The reddish rocks inthe middle-distance are theEiliean Annraidh, Gallic for‘Stormy Island’. The clearblue water separating Ionafrom this rocky islet is theStrait of Storm and the largerock on the left is PulpitRock.

This painting compares veryclosely to a 1920s seascapeby Cadell which hangs in the

Hunterian. Comparing thetwo paintings, it is interestingto note that as well asaccurately capturing thestructure of the rocks, thecolour tones in both worksconsistently show thevariations between the rocks;some with more blue, othersyellow or red.

What makes these Ionapaintings so successful isthat whilst taking such carewith the unchangingtopography, Peploe has alsoconveyed the sense ofshifting waters, rolling cloudsand the crisp northern light.You can almost feel the seabreeze.

156


Cataloguing Terms

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

Buyers are recommended to inspect the property themselves. Written condition reports areusually available on request.

Name(s) or Recognised Designation of an Artist without anyQualificationIn 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 theartist, possible under his supervision

Circle of ...In our opinion a work of the period of the artist and showing hisinfluence.

Follower of ...In our opinion a work executed in the artist’s style but notnecessarily by a pupil.

Manner of ...In our opinion a work executed in the artist’s style but of a laterdate

After ...In our opinion a copy (of any date) of a work of the artist.

Signed ... /Dated ... /Inscribed ... /In our opinion the work has been signed/dated/inscribed by theartist.

BearsSignature ... /Date ... /Inscription ... /In our opinion the signature/date/inscription appears to be by ahand other than that of the artist.

Dimensions are given height before width.

Glossary of Cataloguing Terms

157

Index


Index

Adam, P.W., 134Alexander, R., 142Archer, J., 46, 47Armour, M., 187

Bellany, J., 197, 198Blackadder, E., 202Blacklock, T.B., 74Blacklock, W.K., 136Boshoff, A.H., 155Bough, S., 7, 14, 33, 51Boyd, J., 199Boyley, E.S., 152Brown, F.M., 45Buttersworth, T., 27

Cadell, F.C.B., 183, 190Cameron, D., 79Cameron, K., 103Carse, A., 31Chinnery, G., 16Clark, W. of Greenock, 26Cortés, E.L., 69Coventry, R.M., 53, 87Crowe, V., 201Currie, W., 36

Deans, S.R.L., 104Douglas, Sir W.F., 39-44Dow, T.M., 125Downie, P., 52

Eadie, R., 185Eardley, J., 191, 192, 194

Faed, J., 58Faed, J.Jnr., 107Farquharson, D., 108

Farquharson, J., 70-73Fergusson, J.D., 195Flint, Sir W.R., 160, 161Fong, L., follower of, 25Frazer, W.M., 76, 144, 154Frith, W.P., 59Fulton, D., 80

Gauld, D., 116Gibson, W.A., 84, 106, 128Gilbert, J., 68Giles, J., 81Gillies, Sir W., 162-165, 188,

189Guermacheff, M., 95

Haig, E., 186Hanna, N., 181, 182Hardie, C.M., 64Henry.G., 111Herald, J.W., 88Herring, J.F. Snr., 56, 57Hornel, E.A., 110, 112Houston, G., 109Howard, K., 1, 2, 173, 174Hunter, G.L., 184Hutchison, R.G., 48, 49, 55,

137, 138, 143

Israel, D., 66

John, A.E., 156, 157, 159

Kay, J., 12, 13, 17Kennedy, W., 120King, J.M., 102Knight, Dame L., 158Koekkoek, H. Snr., 65

Koekkoek, H.P., 9

Lavery, Sir J., 113, 114Lhermitte, L.A., 85, 86Lintott, H.J., 130, 131, 132

Mackie, C.H., 83Macnee, R.R., 141MacNicol, B., 99, 100, 101Mactaggart, Sir W., 200Macwhirter, J., 5, 50Mané-Katz, 67Masters, E., 8McBey, J., 15McBride, W., 3McCaw, T.J., 153McCulloch, H., 30McGhie, J., 140, 146McTaggart, W., 18-22Milne, J.M., 166, 167, 168, 196Mitchell, J.C., 78Monamhy, P., attributed to, 24

Nasymth, A., 38Nicol, E., 6

Oppenheimer, C., 98

Park, S., 117, 118, 119Paterson, J., 121, 122Paton, W.H., 126Patrick, J.M., 147-150Peploe, D., 174Peploe, S.J., 203Perigal, A., 82, 129Philipson, Sir R., 175, 176, 177Pinker, S.F., 151Piper, J., 193

Pirie, Sir G., 115Priestman, B., 77

Redpath, A., 171Reid, G.O., 75Reid, J.R., 10Richardson, T.M. Jnr., 54

Sawyer, D., 169, 170Scott, H., 28, 29, 139Scott, Sir P., 145Scottish School, 37Smith, S., 127Steel, G., 60Steer, H.R., 96

Taylor, H.W., 133Thomson, Rev. J. of

Duddingston, 32Thornley, W., 105Train, E., 4

Vettriano, J., 178, 179, 180

Walton, E.A., 123, 124Webb, J., 34, 63Webb, J., follower of, 35Wells, W., 97, 135Whitford, R., 61Wilson, W.H., 89-94Wingate, Sir J.L., 11Wright, R. of Liverpool, 23

Young, A., 62

158

STANDARD TERMS &CONDITIONS OF SALE

Lyon & Turnbull carries on business withbidders, buyers and all those present inthe auction room prior to, or inconnection, with a sale on the followingGeneral Conditions and on such otherterms, conditions and notices as may bereferred to herein.

1. DEFINITIONS

In these Conditions:

(a) “Auctioneer” means the firm of Lyon &Turnbull or its authorised auctioneer, asappropriate;

(b) “deliberate forgery” means animitation made with the intention ofdeceiving as to authorship, origin, date,age, period, culture or source but which isunequivocally described in the catalogueas being the work of a particular creatorand which, at the date of the sale, had avalue materially less than it would havehad if it had been in accordance with thedescription;

(c) “hammer price” means the level ofbidding reached (at or above any reserve)when the auctioneer brings down thehammer;

(d) “terms of consignment” means thestipulated terms and rates of commissionon which Lyon & Turnbull acceptsinstructions from sellers or their agents;

(e) “total amount due” means thehammer price in respect of the lot soldtogether with any premium, Value AddedTax chargeable and any additional chargespayable by a defaulting buyer under theseConditions;

(f) “sale proceeds” means the net amountdue to the seller, being the hammer priceof the lot sold less commission at thestated rate, Value Added Tax chargeableand any other amounts due to us by theseller in whatever capacity and howeverarising;

(g) “You”, “Your”, etc. refer to the buyer asidentified in Condition 2.

(h) The singular includes the plural andvice versa as appropriate.

2. BIDDING PROCEDURES AND THEBUYER

(a) Bidders are required to register theirparticulars before bidding and to satisfyany security arrangements before enteringthe auction room to view or bid;

(b) the maker of the highest bid acceptedby the auctioneer conducting the saleshall be the buyer at the hammer priceand any dispute about a bid, which mustbe raised before the next lot is offered,shall be settled at the auctioneer’sabsolute discretion.

(c) Bidders shall be deemed to act asprincipals.

(d) Once made, no bid may be withdrawn.

(e) Our right to bid on behalf of the selleris expressly reserved up to the amount ofany reserve and the right to refuse any bidis also reserved.

3. INCREMENTS

Bidding increments shall be at theauctioneer’s sole discretion.

4. THE PURCHASE PRICE

The buyer shall pay the hammer pricetogether with a premium thereon.

25% up to £25,000 / 20% thereafter.

VAT will be charged on the premium at therate imposed by law.

5. VALUE ADDED TAX

Value Added Tax on the hammer price isimposed by law on all items affixed withan asterisk (*) or dagger (†). Value AddedTax is charged at the appropriate rate

prevailing by law at the date of sale and ispayable by buyers of relevant lots.

6. PAYMENT

(1) Immediately a lot is sold you will:

(a) pay to us the total amount due in cashor in such other way as is agreed by us.We accept cash, bank transfer (details onrequest), Switch or Debit Cards and Visaor MasterCard (please note there is asurcharge of 2% (VAT included) whenusing credit cards). We do not acceptAmerican Express.

(2) any payments by you to us may beapplied by us towards any sums owingfrom you to us on any account whateverwithout regard to any directions of you oryour agent, whether express or implied.

7. TITLE AND COLLECTION OFPURCHASES

(1) The ownership of any lots purchasedshall not pass to you until you have madepayment in full to us of the total amountdue.

(2) You shall at your own risk and expensetake away any lots that you havepurchased and paid for not later than fourworking days following the day of theauction or upon the clearance of anycheque used for payment after which youshall be responsible for any removal,storage and other associated charges.

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

(4) It is the buyer’s responsibility toascertain collection procedures,particularly if the sale is not being held atour main saleroom and the potentialstorage charges for lots not collected bythe appropriate time.

8. REMEDIES FOR NON-PAYMENT ORFAILURE TO COLLECT PURCHASES

(1) If any lot is not paid for in full and takenaway in accordance with these Conditionsor if there is any other breach of theseConditions, we, as agent for the seller andon their behalf, shall at our absolutediscretion and without prejudice to anyother rights we may have, be entitled toexercise one or more of the followingrights and remedies:

(a) to proceed against you for damages forbreach of contract;

(b) to rescind the sale of that lot and/orany other lots sold by us to you;

(c) to resell the lot (by auction or privatetreaty) in which case you shall beresponsible for any resulting deficiency inthe total amount due (after crediting anypart payment and adding any resale costs).Any surplus so arising shall belong to theseller;

(d) to remove, store and insure the lot atyour expense and, in the case of storage,either at our premises or elsewhere;

(e) to charge interest at a rate of 1.5% permonth above the current base rate on thetotal amount due, to the extent it remainsunpaid for more than four working daysafter the sale;

(f) to retain that or any other lot sold toyou until you pay the total amount due;

(g) to reject or ignore bids from you oryour agent at future auctions or to imposeconditions before any such bids shall beaccepted;

(h) to apply any proceeds of sale of otherlots due or in future becoming due to youtowards the settlement of the total amountdue and to exercise a lien (that is a right toretain possession of) any of your propertyin our possession for any purpose until thedebt due is satisfied.

(2) We shall, as agent for the seller andon their behalf pursue these rights andremedies only as far as is reasonable tomake appropriate recovery in respect ofbreach of these Conditions

9. THIRD PARTY LIABILITY

All members of the public on ourpremises are there at their own risk andmust note the lay-out of theaccommodation and securityarrangements. Accordingly neither theauctioneer nor our employees or agentsshall incur liability for death or personalinjury (except as required by law by reasonof our negligence) or similarly for thesafety of the property of persons visitingprior to or at a sale.

10. COMMISSION BIDS

While prospective buyers are stronglyadvised to attend the auction and arealways responsible for any decision to bidfor a particular lot and shall be assumedto have carefully inspected and satisfiedthemselves as to its condition we shall ifso instructed clearly and in writing executebids on their behalf. Neither theauctioneer or our employees or agentsshall be responsible for any failure to doso. Where two or more commission bidsat the same level are recorded we reservethe right in our absolute discretion toprefer the first bid so made.

11. WARRANTY OF TITLE ANDAVAILABILITY

The seller warrants to the auctioneer andto you that the seller is the true owner ofthe property consigned or is properlyauthorised by the true owner to consign itfor sale and is able to transfer good andmarketable title to the property free fromany third party claims.

12. AGENCY

The auctioneer normally acts as agentonly and disclaims any responsibility fordefault by sellers or buyers.

13. TERMS OF SALE

The seller acknowledges that lots are soldsubject to the stipulations of theseConditions in their entirety and on theTerms of Consignment as notified to theconsignor at the time of the entry of thelot.

14. STANDARD VENDOR FEES ANDCHARGES (Subject to VAT)

(1) Commission: 15% of the first £3000 and10% thereafter is charged on the sellingprice of each lot (subject to a minimumcharge of £30). Loss and damagewarranty: 1.5% on value of lots sold.Photography: max £40 mono per lot, max£250 colour. Internet Marketing Service:£10 per lot.

(2) If a vendor wishes to withdraw a lotorganized for sale, a withdrawal fee willapply;

(a) If withdrawn over 28 working days priorto the sale, this will be charged at 10% ofthe mid estimate along with any ancilliaryincurred (such as photography), all subjectto VAT at the current rate.

(b) If withdrawn within 28 working days ofthe sale, this will be charged at 20% of themid estimate along with any ancilliaryincurred (such as photography), all subjectto VAT at the current rate.

15. DESCRIPTIONS AND CONDITION

(1) While we seek to describe lotsaccurately, it may be impractical for us tocarry out exhaustive due diligence on eachlot. Prospective buyers are given ampleopportunities to view and inspect beforeany sale and they (and any independentexperts on their behalf) must satisfythemselves as to the accuracy of anydescription applied to a lot. Prospectivebuyers also bid on the understanding that,inevitably, representations or statementsby us as to authorship, genuineness,origin, date, age, provenance, condition orestimated selling price involve matters ofopinion. We undertake that any suchopinion shall be honestly and reasonably

held and accept liability for opinions givennegligently or fraudulently. Subject to theforegoing neither we the auctioneer or ouremployees or agents or the seller acceptliability for the correctness of suchopinions and all conditions and warranties,whether relating to description, conditionor quality of lots, express, implied orstatutory, are hereby excluded. ThisCondition is subject to the next followingCondition concerning deliberate forgeriesand applies save as provided for inparagraph 6 “information to buyers”.

(2) Private treaty sales made under theseConditions are deemed to be sales byauction for purposes of consumerlegislation.

16. FORGERIES

Notwithstanding the preceding Condition,any Lot which proves to be a deliberateforgery (as defined) may be returned to usby you within 21 days of the auctionprovided it is in the same condition aswhen bought, and is accompanied byparticulars identifying it from the relevantcatalogue description and a writtenstatement of defects. If we are satisfiedfrom the evidence presented that the lot isa deliberate forgery we shall refund themoney paid by you for the lot including anybuyer’s premium provided that (1) if thecatalogue description reflected theaccepted view of scholars and experts asat the date of sale or (2) you personally arenot able to transfer a good and marketabletitle to us, you shall have no rights underthis condition.

The right of return provided by thisCondition is additional to any right orremedy provided by law or by theseConditions of Sale.

GENERAL

17. We shall have the right at ourdiscretion, to refuse admission to ourpremises or attendance at our auctions byany person.

18 (1) Any right to compensation for lossesliabilities and expenses incurred in respectof and as a result of any breach of theseConditions and any exclusions provided bythem shall be available to the sellerand/or the auctioneer as appropriate.

(2). Such rights and exclusions shallextend to and be deemed to be for thebenefit of employees and agents of theseller and/or the auctioneer who maythemselves enforce them.

19. Any notice to any buyer, seller, bidderor viewer may be given by first class mailin which case it shall be deemed to havebeen received by the addressee 48 hoursafter posting.

20. Special terms may be used incatalogue descriptions of particularclasses of items (Books, Jewellery,paintings, guns, firearms etc) in whichcase the descriptions must be interpretedin accordance with any glossary orguidance notes appearing in thecatalogue. These notices and terms willalso form part of our terms and conditionsof sales.

21. Any indulgence extended to biddersbuyers or sellers by us notwithstandingthe strict terms of these Conditions or ofthe Terms of Consignment shall affect theposition at the relevant time only and inrespect of that particular concession only;in all other respects these Conditionsshall be construed as having full force andeffect.

22. Scottish law applies to theinterpretation of these Conditions.

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Waverley Station

ParkingMulti-storey car parking isavailable at Greenside Placeand in the St. James Centre;five minutes walk from thesaleroom.

Lyon & Turnbull saleroom

St Andrew Square

Local DeliveriesLocal deliveries can bearranged by A&S PertRemovals.Telephone 07876 343520.

Packing and ShippingPlease note that we do notpack or ship items. Thefollowing suggestedcarriers will be able toarrange packing andshipping; please contactthem directly to receive aquote. You may wish to contact an alternativecourier.

Smaller items & PicturesMailboxes Etc44/46 Morningside RoadEdinburgh EH10 4BFTel: +44 (0)131 556 6226Fax: +44 (0)131 652 3673Email:[email protected]

Furniture and larger itemsConstantineConstantine HouseNorth Caldeen RoadCoatbridgeNorth Lanarkshire ML5 4EFTel: +44(0)1236 750055Fax: +44(0)1236 750077E-mail:[email protected]

A Van Man TransportUnit 5, Benridge ParkHolyrood Close,CreekmoorPoole, Dorset BH17 7BDTel: +44 (0)1202 600 012Fax: +44 (0)1202 600 206Email: [email protected]

Fine Art CarriersGallery Support Group37 Cremer StreetLondon E2 8HDTel: +44 (0)20 7729 6692Email:[email protected]

Arrangements for Sold LotsAll bought items will be heldfree of charge at BroughtonPlace until the Fridayfollowing the sale.

Thereafter lots will beremoved to store in Edinburghand a charge incurred.

Administration fee:£20 + VAT

Storage charges per lot perday are:

Large Items£5 inc. insurance + VAT

Small Items£2.50 inc. insurance + VAT

CateringRefreshments will beavailable at the saleroom onview days and day of sale.

© Lyon & Turnbull Ltd. 2013. All rights reserved. No part of thispublication may be reproduced, stored in a retrieval system ortransmitted by any form or by any means without the prior writtenpermission of Lyon & Turnbull Ltd.

33 Broughton Place, EdinburghEH1 3RRTel +44 (0)131 557 8844Fax +44 (0)131 557 8668

email. [email protected]

182 Bath Street, GlasgowG2 4HGTel +44 (0)141 333 1992Fax +44 (0)141 332 8240

78 Pall Mall, LondonSW1Y 5ESTel +44 (0)20 7930 9115Fax +44 (0)20 7930 7274

fine paintings | 30th may 2013

Documents

day of sale

potential buyers

abidding number

number ifsuccessful

buyers premium25

broughton placeedinburgh

visa debit

email invoice issue