lyon & turnbull sale no 316 - fine paintings

Fine Paintings Thursday 2nd June 201133 Broughton PlaceEdinburgh

EDINBURGH

Catalogue: £10

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Fine Paintings

Thursday 2nd June 2011at 6pm

PLEASE NOTE THAT THIS SALECOMMENCES AT 6PM

Sale Number LT316

ViewingSunday 29th May 12 noon - 4pmMonday 30th May 10am - 5pmTuesday 31st May 10am - 5pmWednesday 1st June 10am - 5pm (restricted viewing)Day of sale 10am - 1pm (strictly no viewing after this time)

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L Y O N & T U R N B U L L

Important informationfor buyers

Part OneLots 1-108

3

4

ÏThe Royal Scottish Academy is an independent body of artistsand architects founded, as Scotland’s oldest artists’ collective,as The Scottish Academy in 1826. The first Annual Exhibitionwas held in 1827 and, as the Academy developed in stature, itsmembership increased in the disciplines of painting, sculptureand architecture. The Academy was granted a royal charter in1838 and from that date has been known as the Royal ScottishAcademy (R.S.A.).

Prince Albert laid the foundation stone of a new building onThe Mound, designed to house the newly formed NationalGallery of Scotland in the west of the building and the RoyalScottish Academy in the east. The R.S.A. first held its AnnualExhibition in the new galleries in 1855 and these continuedthere until 1910. The R.S.A. also had its Council room, Libraryand Life School in the building.

A Parliamentary Order in 1910 transferred the Academy to newpremises in the adjacent building, formerly known as the RoyalInstitution. In return, the Academy gifted ninety-six paintingsand sculptures and approximately two thousand drawings tothe National Gallery of Scotland. This building has been thevenue for the Academy’s Annual Exhibitions since 1911.

The three-year Playfair Project, completed by N.G.S. in 2003,added further exhibition space to the lower floor of the RoyalScottish Academy building. During the three years of buildingrefurbishment the Academy began an extensive review of itsstructure, staffing and operation. The appointment of anExhibition Co-ordinator generated a year-round programme ofexhibitions and events, juxtaposing works from a wide range ofartists and artists’ groups with those by Academicians. R.S.A.Scholars and Bursary-holders represent Scotland ’s youngerartists and architects and attract a correspondingly youngeraudience. The annual Student Exhibition has been reconfiguredas the R.S.A. New Contemporaries, showcasing the best workfrom Scotland ’s Fine Art Degree Shows and projects from theSchools of Architecture. New initiatives have also beenintroduced within the R.S.A. Annual Exhibition, includingthemed curations and historical responses drawn from theCollections. At the core of these Collections are the DiplomaWorks deposited by each Academician on election. Theseworks are underpinned by extensive archives ofcorrespondence, papers, drawings, photographs and studioartefacts. Prominent Members have bequeathed significantcollections of their own work – Sir William Gillies R.S.A. and

William Littlejohn R.S.A. being recent examples. There arecollections which had been primarily used for teaching such asthe master drawings assembled by David Laing HR.S.A. andcollections representing the work of R.S.A. Scholars. TheLibrary includes photographic albums, early texts on anatomy,books illustrated by artists and publications on Scottish art andartists. The Collections have been confirmed by the ScottishMuseums Council as being of National Significance. They arewidely consulted by visiting scholars and works are regularlyloaned to exhibitions in the UK and abroad. The work of theAcademy is extended through its education programme which,in partnership with the Friends of the R.S.A., provides talks,lectures and demonstrations, both in the galleries and throughstudio visits and expeditions. A range of residencies for artistsare offered in collaboration with specialist residency centresthroughout Scotland. The Gillies Fund supports a range ofeducational and publishing initiatives while the Borthwick-Norton Bequest benefits the exhibition programme.

Academicians are elected by their peers and are Scots by birthor domicile; the majority live and work in Scotland, from theOrkney Islands to the Borders. The most senior HonoraryAcademician is Prince Philip, the Duke of Edinburgh, whileothers include distinguished artists and architects, writers,historians and musicians. The Academy embodies a wealth ofprofessional experience in Fine Art and Architecture withMembers taking a leading role in higher education and in manyof Scotland ’s leading cultural institutions. The R.S.A. is one ofvery few bodies active within the cultural sector which employsa full-time staff and mounts a year-round programme, yet isnot directly dependant on government funding at local ornational level. Through this independence it is well placed togive an unbiased view, provide a platform for debate or a forumfor advocacy.

The R.S.A. maintains a unique position in Scotland as anindependently funded institution led by eminent artists andarchitects whose purpose is to promote and support thecreation, understanding and enjoyment of the visual artsthrough an ongoing programme of exhibitions and relatededucational events. The R.S.A. also administers a range ofscholarships, awards and residencies for artists in Scotlandand has an historic and nationally significant collection ofScottish artworks and archive available for consultation byappointment.

The Royal Scottish Academy

1 FA826/1JAMES RIDDEL A.R.S.A.,R.S.W. (SCOTTISH 1857-1928)FEEDING THE HENSSigned, oil on canvas

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

£1,000-1,500


Fine Paintings

5

2 FA601/2EDMUND THORNTONCRAWFORD R.S.A.(SCOTTISH 1806-1885)BEACH SCENE, EAST COASTInscribed on a label verso, oilon board


£800-1,200

3 FA684/4TOM SCOTT R.S.A.(SCOTTISH 1854-1927)HORNS HOLESigned, inscribed, and dated‘96, watercolour

25cm x 35cm (9.8in x 13.8in)

£500-700


Fine Paintings

6

4 FA753/1SAM BOUGH R.S.A.(SCOTTISH 1822-1878)THE FORDSigned and dated 1868,watercolour with bodycolour

31.5cm x 46cm (12.4in x 18.1in)

Exhibited:Glasgow International Exhibtion,1901

£800-1,200

5 FA641/1DAVID FOGGIE R.S.A., R.S.W.(SCOTTISH 1878-1948)A REST IN THE WOODSSigned and dated 1907,watercolour

24cm x 35cm (9.5in x 13.75in)

£500-800


Fine Paintings

7

6 FA845/4ROBERT WEIR ALLAN R.S.A.,R.W.S., R.S.W.(SCOTTISH 1852-1942)A BUSY HARBOURSigned and dated 1937,watercolour


£1,000-1,500

7 FA843/1SAM BOUGH R.S.A.(SCOTTISH 1822-1878)AT LOW TIDESigned and dated 1861, oil oncanvas

21cm x 31cm (8.25in x 12in)

£2,000-3,000


Fine Paintings

8

8 FA220/7PETER GRAHAM R.A., R.S.A.(SCOTTISH 1836-1921)THE CRADLE OF THESEA-BIRDSigned and dated 1872, oil oncanvas


£2,000-3,000


Fine Paintings

9

9 FA215/1WILLIAM MILLER FRAZERR.S.A. (SCOTTISH 1864-1961)PITTENDYNIESigned, inscribed and dated1923 verso, oil on board

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

£800-1,200


Fine Paintings

10

10 FA842/6GEORGE OGILVY REID R.S.A.(SCOTTISH 1851-1928)WATCHING THE BOATSSigned, oil on canvas


£2,000-3,000

11 LB409/1ROBERT MCGREGOR R.S.A.(SCOTTISH 1847-1922)FISHERS - BRITTANYSigned, oil on canvas


£2,000-3,000


Fine Paintings

11

12 FA870/8HENRY JOHN SYLVESTERSTANNARD R.B.A., R.S.A.(BRITISH 1870-1951)A SUSSEX COTTAGESigned, watercolour

27cm x 38cm (10.5in x 15in)

£500-800


Fine Paintings

12

13 FA161/1ROBERT BROUGH R.A.,A.R.S.A.(SCOTTISH 1872-1905)A SANDY COVESigned with a monogram,pastel


£400-600

14 EZ878/24STANLEY CURSITER C.B.E.,R.S.A., R.S.W.(SCOTTISH 1887-1976)LANDSCAPE, CASSISSigned, watercolour

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

£2,500-3,500


Fine Paintings

13

15 FA452/5ROBERT NOBLE R.S.A.,P.S.S.A.(SCOTTISH 1857-1917)ON THE BEACH, BUCKHAVENSigned, oil on canvas


£1,500-2,000


Fine Paintings

14

16 FA220/9ARCHIBALD KAY R.S.A.,R.S.W. (SCOTTISH 1860-1935)SHEEP IN MOORLANDSigned, oil on canvas


£1,500-2,500

17 FA842/5DAVID FARQUHARSONA.R.A., A.R.S.A., R.S.W., R.O.I.(SCOTTISH 1840-1907)HEAD OF BALCARY BAY, ONTHE SOLWAYSigned and dated ‘87,inscribed on a label verso, oilon canvas


£3,000-5,000


Fine Paintings

15

18 FA130/1JAMES MCINTOSH PATRICKR.S.A., R.O.I., A.R.E., L.L.D.(SCOTTISH 1907-1998)ON THE RIVERBANKSigned, watercolour

52cm x 39cm (20.5in x 15.5in)

£800-1,200


Fine Paintings

16

19 FA130/2JAMES MCINTOSH PATRICKR.S.A., R.O.I., A.R.E., L.L.D.(SCOTTISH 1907-1998)ON THE TWEEDSigned, watercolour

52cm x 39.5cm (20.5in x 15.5in)

£1,000-1,500


Fine Paintings

17

20 FA574/1JAMES MCINTOSH PATRICKR.S.A., R.O.I., A.R.E., L.L.D.(SCOTTISH 1907-1998)THE JETTY, LOCH LEVENSigned, signed, inscribed anddated 1979 on label verso, oilon canvas

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

£10,000-15,000

21 FA844/6ROBERT PAYTON REIDA.R.S.A.(SCOTTISH 1859-1945)HARVEST TIME GLENFINDLASSigned, oil on canvas


£1,000-1,500


Fine Paintings

18

22 FA819/1WILLIAM MARSHALL BROWNR.S.A., R.S.W.(SCOTTISH 1863-1936)THE DULSE GATHERERSSigned, oil on canvas

20cm x 29.5cm (8in x 11.5in)

£2,000-3,000


Fine Paintings

19

23 FA817/1ROBERT GEMMELLHUTCHISON R.B.A., R.O.I.,R.S.A., R.S.W.(SCOTTISH 1860-1936)IDLE MOMENTSSigned, oil on canvas


£15,000-20,000

24 FA843/7JOHN JAMES BANNATYNER.S.W. (SCOTTISH 1836-1911)IN A ROCKY COVESigned, oil on canvas


£1,000-1,500


Fine Paintings

20

25 FA846/5ARTHUR PERIGAL R.S.A.,R.S.W. (SCOTTISH 1816-1884)THE WATERS OF LEITHABOVE COLT BRIDGEInscribed on a label verso, oilon canvas


£1,000-1,500

26 FA845/2JOHN HENRY LORIMERR.S.A., R.S.W., R.W.S., R.P(SCOTTISH 1856-1936)PATRICK, SON OF SIR DAVIDCHALMERS, AND HIS DOGSigned and dated 1886, oil oncanvas

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

Exhibited:Royal Academy 1886, no.955Royal Scottish Academy 1886, no.70

£15,000-20,000


Fine Paintings

21

27 FA843/4ROBERT MCGOWNCOVENTRY A.R.S.A., R.S.W.(SCOTTISH 1855-1941)RIVER LANDSCAPE WITHBARGESigned, oil on board

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

£800-1,200


Fine Paintings

22

28 FA972/1DAVID GAULD R.S.A.(SCOTTISH 1865-1936)A WOODED RIVERLANDSCAPE, FRANCESigned, oil on canvas

60cm x 73cm (23.5in x 28.75in)

£2,000-3,000


Fine Paintings

23

29 FA973/1DAVID GAULD R.S.A.(SCOTTISH 1865-1936)CALVES BY A BYRESigned, oil on canvas


£4,000-6,000

30 FA452/2DAVID FARQUHARSONA.R.A., A.R.S.A., R.S.W., R.O.I.(SCOTTISH 1840-1907)LOCH KATRINESigned and dated ‘90-1,signed with initials andinscribed verso, oil on canvas


£3,000-5,000


Fine Paintings

24

31 FA994/20WILLIAM BEATTIE-BROWNR.S.A. (SCOTTISH 1831-1909)CATTLE IN A WOODED RIVERLANDSCAPESigned, oil on canvas


£800-1,200

32 LB407/1PATRICK WILLIAM ADAMR.S.A. (SCOTTISH 1854-1929)THE SMITHYSigned and dated 1919, oil oncanvas

88cm x 140cm (34.5in x 55in)

£7,000-10,000


Fine Paintings

25

33 FA508/6GEORGE SMITH R.S.A.(SCOTTISH 1870-1934)HOMEWARD BOUNDSigned, oil on board


£1,500-2,000


Fine Paintings

26

34 FA842/3PATRICK WILLIAM ADAMR.S.A. (SCOTTISH 1854-1929)BY THE WELLSigned, oil on board


£1,000-1,500

35 FA220/3JAMES KAY R.S.A., R.S.W.(SCOTTISH 1858-1942)CLYDE PADDLE STEAMERSigned, oil on canvas


Exhibited:City of Bradford Art Gallery, 1940,no. 315

£4,000-6,000


Fine Paintings

27

36 FA215/2WILLIAM DARLING MCKAYR.S.A. (SCOTTISH 1844-1924)BESIDE THE POOLSigned with initials, oil oncanvas

22.5cm x 33cm (9in x 13in)

£500-700


Fine Paintings

28

37 FA452/1GEORGE WHITTONJOHNSTONE R.S.A., R.S.W.(SCOTTISH 1849-1901)A WOODED RIVERLANDSCAPE WITH DISTANTSTONE BRIDGESigned and dated ‘86, oil oncanvas

81cm x 127cm (31.75in x 50in)

£2,000-3,000

38 FA187/1HORATIO MCCULLOCH R.S.A.(SCOTTISH 1805-1867)MID DAY BREAKOil on canvas

87cm x 110cm (34.25in x 43.25in)

£6,000-8,000


Fine Paintings

29

39 FA994/5JAMES GILES R.S.A.(SCOTTISH 1801-1870)DEER ON A HILLSIDESigned, oil on board


£2,000-3,000


Fine Paintings

30

40 FA845/5DAVID FARQUHARSON A.R.A.,A.R.S.A., R.S.W., R.O.I.(SCOTTISH 1840-1907)MEADOW SCENEInscribed verso, oil on canvas


£2,500-4,000


Fine Paintings

31

41 FA994/18PETER GRAHAM R.A., R.S.A.(SCOTTISH 1836-1921)EVENINGSigned and dated 1891, oil oncanvas

164cm x 123cm (64.5in x 48.5in)

£4,000-6,000

42 FA161/3ROBERT BROUGH R.A.,A.R.S.A.(SCOTTISH 1872-1905)WASHERWOMEN BY THESTREAMSigned with initials,watercolour

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

£600-800


Fine Paintings

32

43 EAC193/1JAMES MCINTOSH PATRICKR.S.A., R.O.I., A.R.E., L.L.D.(SCOTTISH 1907-1998)LOCH KATRINESigned, watercolour

51cm x 38.5cm (20in x 15.2in)

£1,500-2,000

44 EW282/19JAMES MCINTOSH PATRICKR.S.A., R.O.I., A.R.E., L.L.D.(SCOTTISH 1907-1998)DEPARTING SNOWSSigned, oil on canvas


£3,000-5,000


Fine Paintings

33


Fine Paintings

34

46 FA187/2ERSKINE NICOL R.S.A.,A.R.A. (SCOTTISH 1825-1904)A VISIT TO CHEESE ANDBREADSigned and dated 1851, oil onpanel

39cm x 27cm (15.5in x 10.5in)

Exhibited:Royal Scottish Academy 1851,no. 242

£2,000-3,000

45 FA869/5THOMAS FAED R.A., R.S.A.(SCOTTISH 1826-1900)NAE ANITHER DROPOil on board, arched top

32cm x 25.5cm (12in x 10in)

Exhibited:Fine Art Society, Edinburgh, Art inScotland 1806-1920, 1980.

£3,000-5,000


Fine Paintings

35

47 FA994/19OTTO LEYDE R.S.A., R.S.W.(SCOTTISH 1835-1897)THE FISHING PARTYSigned and dated 1875, oil oncanvas

127cm x 150cm (50in x 59in)

£3,000-5,000

48 FA994/16ROBERT MCGOWNCOVENTRY A.R.S.A., R.S.W.(SCOTTISH 1855-1941)GATHERING WRACKSigned, oil on canvas


£1,000-1,500


Fine Paintings

36

49 FA994/7SAM BOUGH R.S.A.(SCOTTISH 1822-1878)ON THE AVON NEAR BRISTOLSigned and inscribed,watercolour


£1,000-1,500

50 FA573/3SIR DAVID MURRAY R.A.,R.S.A., R.I., R.S.W.(SCOTTISH 1849-1933)THE HOLLOW TREESigned and dated ‘97, oil oncanvas


£2,000-3,000


Fine Paintings

37

Born on Aros, Kintyre, to afamily of very modest means,his father an agriculturallabourer who frequentlymoved his family for work,William McTaggart showedearly signs of interest in thearts and a talent for drawingand painting. The twelve-year-old McTaggart wasapprenticed with theapothecary Dr John Buchanin Campbeltown, who appearsto have had an active role inencouraging and nurturingthe talent of the boy,introducing him to the painterDaniel MacNee. McTaggartwas fortunate enough to beable to enrol into theTrustees’ Academy inEdinburgh in 1852 and attendcourses for free, earning hislodgings and living by paintingportraits. His arrival at theAcademy coincided with thearrival of Robert ScottLauder, who was aninspirational teacher and wasresponsible for creating aparticularly strong crop ofyoung Scottish artists in histime there.

McTaggart began to exhibit in1856 and was made anassociate of the RoyalScottish Academy in 1859,aged only twenty-four. Hisroots in portraiture areevident in the work from thelate 1850s and 1860s. Indeed,lot 51, painted in 1864 andexhibited at the RoyalGlasgow Institute in 1866, isinscribed ‘Emma Shiels’ onthe reverse, hinting at aparticular model/sitter for theyoung girl in the composition.McTaggart’s work at thebeginning of his professionalcareer is strongly aligned tothat of the Pre-Raphaelites.Indeed, he visited Manchesterin 1857, where he saw workby William Collins, HolmanHunt and Millais. Those

38

artists’ profound interest incolour and focus on pastoralor poetic subject matter,figures in the landscape, andchildren, as in the case ofMillais, seem to haveproduced a strong responsein McTaggart, with lots 51 and53 being particularly strongexamples of thisdevelopment. He remainedrooted in his Scottishheritage, however, and hislandscapes, increasinglyimportant in hiscompositions, continued to berecognisably Scottish, both intopography and in histreatment of them, lookingback to the great Scottishlandscape painting traditionof Alexander Nasmyth andalmost-contemporaryAlexander Fraser. Aninteresting comparison mightbe drawn between lot 51 andthe much larger composition,Spring, painted for hisimportant patron G BSimpson, and now in thecollection of the NationalGalleries of Scotland . Thetreatment of the figures, inthe level of detail and theirsetting within a welcominglandscape that mirrors theyouth and charming attributesof the girls, is very similarindeed.

McTaggart’s reputation grewconsiderably in the 1860s andhe was elected a full memberof the R.S.A. in 1870. Severalof McTaggart’scontemporaries at theTrustees’ Academy haddeparted to London andfrequently exhibited at theRoyal Academy . McTaggartrefused to exhibit ‘outside hiscountry’ in the 60s but didsend pictures to the RoyalAcademy in the early 1870s.Lot 53 was one such work,shown in London in 1872 andat the R.S.A. in 1875. It

features a compositionrelated to the earlierimportant work Spring, twoyoung children resting in alandscape, one lying down,the other more upright, butthe palette and treatment ofhis subject matter has beganto change irrevocably. Therange of colours used is nowfar narrower, whereas theapplication of paint is muchlooser, almost cursory in thetypically Highland landscapethat serves as our setting. Ashis style developed his criticsreproached McTaggart for hisbroader handling of paint,advising him to burn his largebrushes and revert back tofiner ones. He remainedsteadfast on his coursehowever, declaring ‘They willchange; I cannot’ (p.7,Exhibition Catalogue forPaintings by WilliamMcTaggart, June-July 1937,City of Manchester ArtGallery). A review of hisportrait of Mrs Orchar, hisfriend’s wife, intoned ‘somefine qualities but it is slovenlyin execution, wanting intexture and definition.’ (TheArts Journal, 1887, p.125)

Lot 52 fully demonstrates theradical change in directionthe artist’s work took in the80s and 90s. The palette iseven narrower and thecomposition supremelysimplified, creating aharmonious and extremelysimple landscape with the twofigures an intrinsic andnatural part of it. LindsayErrington has shown howMcTaggart was greatlyinfluenced by the work ofWhistler and as a result howhe ceased to use his paint ina descriptive manner butrather applied oils in anevocative way, producing aharmonious and almostabstract work in the process.

The artist began to frequentlyvisit both the East and Westcoasts of Scotland , inparticular Crail andCarnoustie, and Campbeltownand Machrihanish in the West.The present lot is most likelyto have been painted atMachrihanish, which isdescribed in a book from 1876which McTaggart owned as:

‘The long crescent ofMachrihanish, girdled bysands, wind-tossed intofantastic hillocks, receivesthe full weight of theAtlantic…Even in calmthere is a weirdsuggestiveness in theceaseless moaning of thatsurf, like the breathing of awild beast.’

By the 1980s McTaggartfrequently worked outdoors,painting the landscape in situ,preferring to add any humanfigures in the studioafterwards. The figures inthese later landscapes are anintrinsic part of nature, andbecome even moreentrenched into the sea andsand in the later, and evenmore loosely painted series ofthe Emigrants and TheComing of St Columba.

McTaggart’s painterlytechnique, great interest inlight and evocative ratherthan descriptive depiction ofhis subject matter in hismature works have rightlyearned him the title of aScottish Impressionist. Wemight argue that he was to19th century Scottish art andto the Glasgow Boys, whatEdouard Manet was to theImpressionists: a forefatherand important precedent forthe development of Modernityin painting in his country.

51 FA817/2WILLIAM MCTAGGART R.S.A.,R.S.W. (SCOTTISH 1835-1910)LIBERTYSigned with a monogram anddated 1864, inscribed anddated verso ‘Emma Shiells1864’ oil on panel

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

Provenance:Rev. J Lorimer Munro

Exhibited:R.G.I. 1866

Literature:James Caw, William McTaggart1917, p.227 with different title

£10,000-12,000


Fine Paintings

39

52 FA871/4WILLIAM MCTAGGART R.S.A.,R.S.W. (SCOTTISH 1835-1910)THE SHORES OF THE ATLANTICSigned and dated 1880-1901, oil oncanvas

71cm x 98cm (28in x 38.5in)

Provenance:John Mathewson, DundeeFine Art Society Ltd, London 1973 no.5391

Literature:James Caw, William McTaggart 1917, p.245

Exhibited:Royal Glasgow Institute 1889New Zealand 1890Dundee Exhibitions 1912 (as Their NativeElement)

£30,000-50,000

41

53 FA871/3WILLIAM MCTAGGARTR.S.A., R.S.W.(SCOTTISH 1835-1910)AMONG THE HEATHERSigned and dated 1872, oil oncanvas

49cm x 59.5cm (19.25in x 23.5in)

Provenance:Graham Paton, Alloa

Literature:James L Caw, William McTaggart1917, p.233

Exhibited:Royal Academy 1872Royal Scottish Academy 1875possibly as Fern Gatherers, see Cawp. 236.

£25,000-35,000

54 FA846/1WILLIAM MCTAGGART R.S.A.,R.S.W. (SCOTTISH 1835-1910)SAFE ARRIVALOil on canvas

87cm x 164cm (34.25in x 64.5in)

£1,000-1,500


Fine Paintings

42


Fine Paintings

43

55 FA844/8PETER GRAHAM R.A.,H.R.S.A.(SCOTTISH 1836-1921)HIGHLAND CATTLE IN AMOUNTAIN GLENSigned and dated 1900, oil oncanvas


£3,000-5,000


Fine Paintings

44

57 FA753/5ROBERT BURNS A.R.S.A.(1869-1941)WINTER LIGHT ON THELAMMERMUIRSSigned, oil on canvas


£600-800

56 FA869/2HUGH CAMERON R.S.A.,R.S.W., R.O.I.(SCOTTISH 1835-1918)THE GO-CARTSigned, watercolour

19cm x 41cm (7.5in x 16in)

£400-600

58 FA846/3ROBERT GEMMELLHUTCHISON R.B.A., R.O.I.,R.S.A., R.S.W.(SCOTTISH 1860-1936)THE TOY WHISTLESigned, oil on panel

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

£10,000-15,000


Fine Paintings

45

59 FA994/11JAMES PATERSON R.S.A.,R.S.W., R.W.S.(SCOTTISH 1854-1932)THE MILLSigned, inscribed andindistinctly dated ‘Moniaive189-’, oil on panel

101.5cm x 128cm (40in x 50.5in)

Exhibited:A painting entitled The Mill wasexhibited in 1892, no.453

£7,000-10,000


Fine Paintings

46

60 FA442/1WILLIAM MCTAGGART R.S.A.,R.S.W. (SCOTTISH 1835-1910)& JOHN MACWHIRTER R.A.,R.S.A. (SCOTTISH 1839-1911)MUSHROOM GATHERERSSigned by both artists anddated ‘78, oil on canvas


£3,000-5,000


Fine Paintings

47

61 FA573/5SIR DAVID MURRAY R.A.,R.S.A., R.I., R.S.W.(SCOTTISH 1849-1933)HOME FROM THE FIELDSSigned and dated ‘05, oil oncanvas


£2,000-3,000


Fine Paintings

48

62 FA844/3GEORGE HOUSTON R.S.A.,R.S.W., R.G.I.(SCOTTISH 1869-1947)ON THE PROMENADE, RHUSigned, oil on canvas


£4,000-6,000


Fine Paintings

49

63 FA844/5SAM BOUGH R.S.A.(SCOTTISH 1828-1878)EDINBURGH CASTLE,EVENINGSigned, watercolour

32cm x 49cm (12.5in x 19.25in)

£3,000-5,000


Fine Paintings

50

64 FA831/1SIR DAVID YOUNG CAMERONR.A., R.S.A., R.W.S., R.S.W.,R.E. (SCOTTISH 1865-1945)RIVER LANDSCAPE,PERTHSHIRESigned with initials, oil oncanvas


£4,000-6,000


Fine Paintings

51

65 FA225/1GEORGE HOUSTON R.S.A.,R.S.W. (SCOTTISH 1869-1947)STILL LIFE WITHMARGUERITES ANDMARIGOLDSSigned, oil on canvas


£1,000-1,500


Fine Paintings

52

66 FA845/8SIR GEORGE REID P.R.S.A.,R.S.W., L.L.D.(SCOTTISH 1841-1913)A STILL LIFE OF GLADIOLISigned with a monogram, oilon canvas

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

£1,000-1,500

67 FA642/1JAMES KAY R.S.A., R.S.W.(SCOTTISH 1858-1942)AUTUMNAL LANDSCAPESigned and inscribed labelverso, oil on board

61cm x 74cm (24in x 29.5in)

Provenance:James McClure & Son, Glasgow

Exhibited:Royal Glasgow InstituteWalker Art Gallery, Liverpool,Sixtieth Autumn Exhibition, 1934,cat. no. 12

£3,000-5,000


Fine Paintings

53

68 FA994/2JAMES KAY R.S.A., R.S.W.(SCOTTTISH 1858-1942)TRONGATESigned, oil on board

15cm x 20.5cm (6in x 8in)

£1,500-2,000


Fine Paintings

54

69 FA592/2WILLIAM SOMMERVILLESHANKS R.S.A., R.S.W.(SCOTTISH 1864-1951)A STILL LIFE OF APPLESSigned, oil on panel

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

£800-1,200


Fine Paintings

55

70 FA573/8JAMES KAY R.S.A., R.S.W.(SCOTTISH 1858-1942)THE MADELEINE AND RUEROYAL, PARISSigned, oil on canvas


£10,000-15,000

71 FA589/1WILLIAM WILSON O.B.E.,R.S.A., R.S.W.(SCOTTISH 1905-1972)HOUSES IN STOCKBRIDGESigned and dated 1951, ink onpaper

32cm x 38cm (12.6in x 15in)

£500-700


Fine Paintings

56

72 FA843/5JAMES KAY R.S.A., R.S.W.(SCOTTISH 1858-1942)ON THE CLYDESigned, mixed media


£2,000-3,000

73 FA222/1JAMES KAY R.S.A, R.S.W.(SCOTTISH 1858-1942)SUNSET, PRINCES DOCK,GLASGOWSigned, oil on board


£4,000-6,000


Fine Paintings

57

74 FA994/15MARY ARMOUR R.S.A.,R.S.W. (SCOTTISH 1902-2000)SNOW IN THE GARDENSigned and dated ‘68, oil oncanvas



£3,000-5,000


Fine Paintings

58

75 FA846/4ROBERT GEMMELLHUTCHISON R.B.A., R.O.I.,R.S.A., R.S.W.(SCOTTISH 1860-1936)AMONGST THE DUNESSigned, oil on board


£10,000-15,000


Fine Paintings

59

76 EW282/18JAMES MCINTOSH PATRICKR.S.A., R.O.I., A.R.E., L.L.D.(SCOTTISH 1907-1998)ON THE ANGUS COASTSigned, oil on canvas


£3,000-5,000


Fine Paintings

60

77 FA842/4JOHN MACLAUCHLAN MILNER.S.A. (SCOTTISH 1886-1957)STRAND ON THE GREENSigned, watercolour

25cm x 38cm (9.75in x 15in)

and a companion, a pair (2)

£1,000-1,500


Fine Paintings

61

78 FA753/3DAVID MCCLURE R.S.A.,R.S.W. (SCOTTISH 1926-1998)HOUSES ON THE SEA FRONTSigned, oil on board

34cm x 48cm (13.4in x 18.9in)

Provenance:Ex collection of William Wilson,exhibited Aitken Dott & Son, ‘RecentAquisitions’, April - May 1977, cat.no. 75

£800-1,200


Fine Paintings

62

79 FA573/4WILLIAM WILSON O.B.E.,R.S.A., R.S.W.(SCOTTISH 1905-1972)ST. TROPEZSigned and dated 1951, penand ink and watercolour

48cm x 58cm (18in x 22.75in)

£1,500-2,000

80 FA452/6SIR DAVID YOUNG CAMERONR.A., R.S.A., R.W.S., R.S.W.,R.E. (SCOTTISH 1865-1945)THE ETERNAL HILLS OFROSSSigned, oil on canvas


£2,500-4,000


Fine Paintings

63

81 FA846/9FRANCIS CAMPBELLBOILEAU CADELL R.S.A.,R.S.W. (SCOTTISH 1883-1937)IONA BEACH SCENESigned, watercolour

14cm x 18cm (5.5in x 7in)

Exhibited:Durand Knox Galleries 1921, no.12

£2,000-3,000


Fine Paintings

64

82 FA711/1JOHN MACLAUCHLAN MILNER.S.A. (SCOTTISH 1886-1957)DUCKS ON THE RIVERSigned, watercolour

37cm x 55.5cm (14.6in x 21.9in)

£700-900

83 FA791/1JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963)CHILD STUDYSigned, pastel

22cm x 20cm (8.75in x 8in)

Provenance:A gift to the current owner from Joan Eardley’s mother onthe occasion of her 50th wedding anniversary

£10,000-15,000


Fine Paintings

65

84 FA791/2JOAN EARDLEY R.S.A.(SCOTTISH 1921-1963)RED ROOFS, TREES ANDCOWSSigned, mixed media

39cm x 48cm (15.5in x 19in)

Provenance:Mrs Irene Eardley

Exhibited:The Scottish Arts Council, JoanEardley, 1964, no. 17

£8,000-12,000


Fine Paintings

66

85 FA791/3JOAN EARDLEY R.S.A.(SCOTTISH 1921-1963)A GLASGOW TENEMENTPastel

20cm x 25cm (8in x 9.75in)

Provenance:A gift to the current owner’shusband from Joan Eardley’smother on the occasion of his 50thwedding anniversary

£6,000-8,000


Fine Paintings

67

86 FA791/5JOAN EARDLEY R.S.A.(SCOTTISH 1921-1963)A DESERTED LANESigned, pastel

42cm x 56cm (16.5in x 22cm)

Provenance:A gift from Joan Eardley’s mother tothe current vendor

£4,000-6,000


Fine Paintings

68

87 FA791/4JOAN EARDLEY R.S.A.(SCOTTISH 1921-1963)TREE STUDYMixed media

59cm x 46.5cm (23.25in x 18.25in)

Provenance:Mrs Irene Eardley

Exhibited:The Scottish Arts Council, JoanEardley, 1964, no. 19

£5,000-7,000


Fine Paintings

69

88 FA662/1JOAN EARDLEY R.S.A.(SCOTTISH 1921-1963)HARVEST CATTERLINEWatercolour, with the estatenumber ED1210

10.5cm x 23cm (4.25in x 9in)

Exhibited:Ewan Mundy Fine Art, Glasgow,Eardley Exhibiton, 1996

£2,000-3,000


Fine Paintings

70

89 FA993/3JAMES COWIE R.S.A., L.L.D.(SCOTTISH 1886-1956)GIRL WITH BERETAuthenticated by the artist’sdaughter Barbara on a labelverso, pencil

28cm x 22.5cm (11in x 9in)

Exhibited:Cyril Gerber Fine Art, Glasgow, 1988,no. 68

£500-800

90 FA993/1JOAN EARDLEY R.S.A.(SCOTTISH 1921-1963)BOY WITH CLASPED HANDSSigned, pastel


£3,000-5,000


Fine Paintings

71


Fine Paintings

72

In 1629, a terrible epidemiccast its pall over the city ofVenice. Lasting for oversixteen months, the BlackDeath would devastate thepopulation of La Serenissima,carrying away 46,490 of itscitizens, including theRepublic’s Doge. In such darktimes, the Venetian Senateturned to heaven for aid,hoping that patronage wouldsucceed where prayer hadfailed, and voted to erect abasilica to Santa Maria dellaSalute, the Madonna ofHealth. Rising like a crownfrom the turquoise waters ofthe Grand Canal, a statue ofits patron saint serenelysurveying the city from hervantage point atop the dome’sapex, the pristine whitebasilica has always been anemblem of hope to Venetians,

a talisman against theshadows of death.

Each year on November 21stthe faithful proceed from thePiazza San Marco to theSalute by means of atemporarily-erected bridge ofboats that span the GrandCanal, linking the twospiritual centres of the city.Crowds press through narrowVenetian calli, pilgrims hopingto be cured of ailmentsalongside tourists eagerlyexperiencing the heightenedatmosphere of a majorreligious and civic spectacle.The contrast between thefrenzy of the Festa dellaSalute and the quiet scene ofdevotion in the midst ofarchitectural splendourmasterfully captured byCadell in this painting couldnot be more striking.

Since its construction underthe Baroque architectBaldessare Longhena in 1631,the Salute has served as asite of religious and artisticpilgrimage in equalmeasures, inspiring artistsfrom Canaletto to Turner andCadell’s near contemporary,John Singer Sargent. WhileSargent depicted the exteriorof the church (often perchingin a gondola to do so), Cadellhas chosen to capture theeffect of light and shade inthe interior, accepting thechallenge of depicting its

remarkable octagonalcentralised plan, unique inVenetian architecture of itstime. Longhena rooted hisbold architectural vision inVenetian tradition through hisuse of Istrian stone (recallingthe works of Palladio andMauro Codussi) andwhitewashed stucco to createbright, even lighting in itsinterior. In his depiction of thenave of the church seen fromone of its many side-chapels,the young Cadell has clearlyabsorbed the lessons of theImpressionists, using a thickand fluid impasto brushworkin which orange merges withred, blue and lilac. In thispainting, white stone is neversimply white, but ratherreflects the gold surface ofaltars, rich hues of carvedwood, and the red velvetcurtains which veil theshimmering light of thelagoon pouring through thebasilica’s windows.

Cadell draws all the moreattention to the potency oflight in the basilica’s interiorthrough his depiction of theshade cast by its dramaticpiers. The shadows of thepainting’s foreground,shrouding the features of thelady lost in prayer, blendharmoniously into the middle-ground, while the patterns inthe marble floor emerge fromdarkness at its lower edge

before losing themselvesagain in the dazzling light atthe basilica’s centre. Thepresence of the seated figureadds an element of intimacyto a painting which, paintedon an unusually large scalefor the artist at this time,otherwise alludes to themagnificent scale of theSalute itself, its monumentalquality reinforced by thestrong vertical rhythm of itsComposite columns, and thediminutive figure infashionable dress strollingunder its soaring arches.

Cadell’s trip to Venice- whichproved to be an importantcatalyst in his development asa Colourist, would have beenbeyond the means of theartist (who had a dandy’staste but unfortunately notthe private income to match)were it not for the financialassistance of his patron,Patrick Ford. Ford funded hisvisit to the city in 1910, inreturn choosing six of thebest paintings to emerge fromthe trip, including this workalongside two otherdepictions of Santa Mariadella Salute, whose beautyand significance in the historyand landscape of the cityclearly impressed thecollector.

91 FA817/3FRANCIS CAMPBELLBOILEAU CADELL R.S.A.,R.S.W. (SCOTTISH 1883-1937)INTERIOR -SANTA MARIADELLA SALUTE, VENICESigned and dated ‘11, oil oncanvas

117cm x 90cm (46in x 35.5in)

Provenance:Sir Patrick FordJonathon Clark Ltd, London,Private Collection

Exhibited:Royal Scottish Academy, FestivalExhibition, Peploe, Cadell, Hunter,1949

Literature:Tom Hewlett, Cadell: AScottish Colourist, 1988, p.29, pl.17

£80,000-120,000

92 FA831/2JOHN MACLAUCHLAN MILNER.S.A. (SCOTTISH 1886-1957)VILLAGE SCENESigned, watercolour


£1,000-1,500


Fine Paintings

74

93 FA667/1MARY ARMOUR R.S.A.,R.S.W., R.G.I., L.L.D.(SCOTTISH 1902-2000)HELLEBORESSigned and dated 1983, andinscribed artist label verso, oilon canvas

30cm x 25cm (11.8in x 9.8in)

£1,000-1,500

94 FA993/6SIR WILLIAM GEORGEGILLIES C.B.E., L.L.D., R.S.A.,R.S.W., R.A.(SCOTTISH 1898-1973)STILL LIFE ON A LIGHTGROUNDSigned, oil on canvas

68.5cm x 68.5cm (27in x 27in)

Exhibited:Scottish Arts Council, William GilliesRetrospective, 1970

£3,000-5,000


Fine Paintings

75

95 FA994/4SIR WILLIAM GEORGEGILLIES C.B.E., L.L.D., R.S.A.,R.S.W., R.A.(SCOTTISH 1898-1973)BERWICKSHIRE LANDCSAPESigned and dated 1956, penciland watercolour

25.5cm x 46cm (10in x 18in)

£2,500-3,500


Fine Paintings

76


Fine Paintings

77

For centuries a site ofreligious pilgrimage, theScottish island of Iona would,in the early twentieth century,become equally important asa site of artistic pilgrimage forColourist Samuel Peploe,becoming, for an artist sodeeply influenced by Cézanne,his own ‘Mont Sainte-Victoire’.1

While fellow Colourist FrancisCampbell Boileau Cadell firstvisited Iona in 1912, Peploe’seagerly anticipated first visitwould not occur until 1920.Writing to Cadell whileinvalided in France during theFirst World War, Peploe woulddeclare that ‘when the war isover I shall go to the Hebridesand recover some vision Ihave lost. There is somethingmarvellous about the westernseas.’2 Indeed, the jewel-coloured waters and whitesands of the island wouldprove an artistic and spiritualsanctuary for the artist, andhe would, it seems, recoverthat vision dimmed by thehorrors of war, finding

endless inspiration in thepink-hued rocks around theisland’s northern tip, and theshifting effect of light andtides on the sea thatseparates the tiny island fromthat of Mull.

In the present work, paintedlater in the artist’s life, weobserve the continuinginfluence his southerncounterpart, Cézanne, had onPeploe, who delights in theangular forms of theforeground crags risingtriumphantly from the whitesands, leading the eye to themellow turquoise and blue ofthe sea beyond. While stillrich, Peploe’s palette wouldbecome mellower and morecontemplative in later years,and in these works, in thewords of his biographer,Stanley Cursiter, there is nosuggestion that:

colour was beingsearched for andaccentuated for its ownsake, but rather that thewhole picture surface wasa web of some richmaterial in which notes ofcolour emerge and formstake shape. This continuityof colour content seemsto give to his work inthese years the broad,

flowing depth which onefeels in great orchestralmusic.3

Peploe’s Iona scenes provedimmensely popular amongcollectors in his lifetime, andthe island has becomeindelibly linked to his name.He would continue to visit theisland each summer until theyear of his death, workingtirelessly on a much-lovedsubject.

1Peploe, Guy. S J Peploe 1871-1935.Scottish National Gallery of ModernArt, Edinburgh, 1985, pg. 14.

2Quoted in The Scottish Colourists1900-1930, Scottish National Galleryof Modern Art, Edinburgh, 200, pg.29.

3Peploe: An intimate memoir of anartist and his work. Thomas Nelsonand sons Ltd, London, 1947, pg. 76.

96 FA573/1SAMUEL JOHN PEPLOER.S.A. (SCOTTISH 1871-1935)IONASigned, oil on panel


£40,000-60,000

97 FA817/5MARGARET HISLOP R.S.A.,R.B.A. (SCOTTISH 1894-1972)STILL LIFE WITH TULIPSSigned, oil on board


£2,000-3,000


Fine Paintings

78

98 FA817/4MARGARET HISLOP R.S.A.,R.B.A. (SCOTTISH 1894-1972)AFRICAN FLOWERS IN AVASESigned, oil on board


£1,500-2,000

99 FA820/1JOHN MACLAUCHLAN MILNER.S.A. (SCOTTISH 1886-1957)A STILL LIFE OFCHRYSANTHEMUMSOil on canvas


Exhibited:Portland Gallery, London, JohnMaclauchlan Milne 2010, no.84

£7,000-9,000


Fine Paintings

79

100 FA444/2SIR ROBIN PHILIPSONR.A., P.R.S.A., R.S.W., R.G.I.,L.L.D., D.LITT.(SCOTTISH 1916-1992)FRUIT - ST.MAXIMIN 1977Inscribed on a label verso,pastel

33.5cm x 33.5cm (13.25in x 13.25in)

Exhibited:Aitken Dott & Son, ChristmasExhibition 1977, no.79

£2,000-3,000


Fine Paintings

80

101 FA444/3SIR ROBIN PHILIPSONR.A., P.R.S.A., R.S.W., R.G.I.,L.L.D., D.LITT.(SCOTTISH 1916-1992)FLOWERS AND SEA 11Signed and inscribed onbackboard verso 1967,watercolour

22cm x 28.5cm (8.25in x 11.25in)

Exhibited:Aitken Dott & Son, 1968, ‘Themodern spirit in Scottish painting’,1978

£1,000-2,000

102 FA444/1SIR ROBIN PHILIPSONR.A., P.R.S.A., R.S.W., R.G.I.,L.L.D., D.LITT.(SCOTTISH 1916-1992)STANDING FIGUREInscribed on a label verso, oilon board

40.5cm x 26.5cm (16in x 10.5in)

Exhibited:Aitken Dott & Son, FestivalExhibition 1976, no.58

£3,000-5,000


Fine Paintings

81

103 FA752/1SIR ROBIN PHILIPSONR.A., P.R.S.A., R.S.W., R.G.I.,L.L.D., D.LITT.(SCOTTISH 1916-1992)MARTYRDOM, IISigned verso, and inscribedartist label verso, mixedmedia on canvas

39cm x 29cm (15.4in x 11.4in)

Exhibited:Aitken Dott & Son, ChristmasExhibition 1967, cat. no. 101

£2,000-3,000


Fine Paintings

82

104 FA976/1SIR ROBIN PHILIPSONR.A., R.S.A., P.R.S.W., R.G.I.,L.L.D., D.LITT.(SCOTTISH 1916-1992)MONKEYS BEFORE ATEMPLE FRIEZEOil and mixed media oncanvas

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

£15,000-20,000

Monkeys Before A TempleFrieze is exemplary of severalkey artistic themesdiscernible in the work of theinnovative and influentialScottish artist Sir RobinPhilipson. After training atEdinburgh College of Art,during World War II Philipsonserved with the King’s OwnScottish Borderers in Indiaand Burma. While unable topaint as much as he wouldwish under war timeconditions, in later life he wasinspired to return to the exoticmotifs such as Brahma cattleand Burmese horses firstencountered during activeservice. Here we observe theexpressive interaction of twomonkeys framed against anexotic temple frieze,reminiscent of the predelle ofCatholic altarpieces exploredby the artist in his 1960’sseries of Mexican churchinteriors. Indeed, in itscomposition (dominated bystrong horizontals), the

painting continues a themefirst explored in his FirstWorld War series and suchworks as Stone the Crows.Inspiration for the horizontal,strip format first arose whenPhilipson wandered in to aperformance of JosephLosey’s King and Country in alocal cinema. A scene inwhich soldiers drag a youngman through the snow to hisexecution triggered a strongemotional response in theartist, who chose to replicatethe format of the film reels inhis painting. Nevertheless,the anguished atmosphere ofthe earlier series is entirelyabsent from this later work,in which harmonious tonesand Philipson’s exquisitehandling of paint combinewith a slight element ofhumour in the very humanfigures of the monkeys, onestrutting jauntily to the rightof the picture plane as hiscompanion observes with adisgruntled expression.


Fine Paintings

83

105 FA971/2JOHN HOUSTON R.S.A.,R.S.W., S.S.A.(SCOTTISH 1930-2008)SUMMER GARDENSigned, oil on board

12.5in x 30.5cm (5in x 12in)

Exhibited:Scottish Gallery, EdinburghChristmas Exhibition 1976, no.177

£700-900


Fine Paintings

84

106 FA971/3JOHN HOUSTON R.S.A.,R.S.W., S.S.A.(SCOTTISH 1930-2008)GARDEN ABOVE A POOLSigned, watercolour

13cm x 18cm (5,25in x 7in)

£600-800

107 FA971/1JOHN HOUSTON R.S.A.,R.S.W., S.S.A.(SCOTTISH 1930-2008)HARVEST LANDSCAPESigned, oil on cnvas

112cm x 102cm (44in x 40in)

£4,000-6,000


Fine Paintings

85

108 FA876/2EARL HAIG O.B.E., A.R.S.A.(SCOTTISH 1918-2009)ST. MARKS, VENICESigned, oil on canvas


£2,000-3,000


Fine Paintings

86

Part TwoLots 109-222

109 FA450/2PHILIP JAMES DELOUTHERBOURG(FRENCH 1740-1812)THE QUARRY MENOil on canvas


£3,000-5,000


Fine Paintings

88

110 EAC74/7PHILIP JAMES DELOUTHERBOURG(FRENCH 1740-1812)THE CARTERS, PATTERDALESigned, oil on canvas

41cm x 58.5cm (16in x 23in)

Provenance:David Messum Fine Paintings,Beaconsfield

£1,500-2,000


Fine Paintings

89

111 FA32/1ATTRIBUTED TO JEANMICHEL MOREAU LE JEUNE(FRENCH 1741-1814)THE MARRIAGE OF MARIE-ANTOINETTE TO THEFUTURE LOUIS XVI,VERSAILLES 1770Watercolour and ink on paperlaid down on card, unframed

16.7cm x 30cm (6.6in x 11.8in)


Fine Paintings

90

Note:This drawing would appear to be apreparatory sketch for a largerdrawing (now held at the Chateau ofVersailles) by Jean Michel Moreau leJeune entitled ‘Illumination du parcde Versailles et du Grand Canal’’with the description ‘A l’occasion dumariage du Dauphin futur Louis XVIavec l’archiduchesseMarie-Antoinette, le 19 mai 1770’,illustrated in the article ‘Les Fêtesroyales au XVIIIe siècle’ by Jérômede La Gorce in “Versailles”, edited byPierre Arizzoli-Clémentel, Paris,Mazenod, 2009, v. 2, p. 539.The attribution to the hand of JeanMichel Moreau le Jeune has beenconfirmed by Jérôme de La Gorce ofL’Université Paris Sorbonne-Paris IV.

£1,000-1,500

112 FA800/1WILLIAM HENRY HUNTO.W.S. (1790-1864)THE VALENTINESigned twice, watercolour


Provenance:Presented to Thomas Wilkinson J.P.by members of the DarwenManufacturers Association. May22nd 1922.

£2,000-3,000


Fine Paintings

91

113 FA842/2GEORGE NAPIER(SCOTTISH 1823-1869)RUNNING DOWN THE FIRTHOF CLYDESigned and dated 1867,inscribed on a label verso, oilon canvas


£3,000-5,000


Fine Paintings

92


Fine Paintings

93

114 FA846/6ATTRIBUTED TO SIR HENRYRAEBURN R.A.(SCOTTISH 1756-1823)HALF LENGTH PORTRAIT OFA GENTLEMANOil on canvas

76cm x 63cm (30cm x 25in)

Note:This painting bears a plaqueidentifying the sitter as Sir JamesSinclair. Records list a JamesSinclair, 12th Earl of Caithness,born in 1766.

Provenance:Charles Pratt, New York and thenceby descent.

£2,000-3,000

115 FA870/4EDWARD CHARLES BARNES(BRITISH 1830-1882)THE TRAVELLING CIRCUSSigned with a monogram, oilon canvas


£3,000-5,000


Fine Paintings

94

116 FA731/1FREDERICK SAMUELBEAUMONT(BRITISH b. 1861)REVERIESigned and dated Jan 1891,oil on canvas

121cm x 65cm (47.5in x 25.5in)

£1,500-2,500


Fine Paintings

95

117 FA870/1ALEXANDER NASMYTH(SCOTTISH 1758-1840)BRECHIN CASTLE FROM THERIVEROil on canvas

88cm x 138cm (34.5in x 54.25in)

£6,000-8,000


Fine Paintings

96


Fine Paintings

97

118 FA817/6WILLIAM DAVIS(IRISH 1812-1873)SCOTCH TERRIERSSigned, oil on canvas, archedtop

30.5cm x 36cm (12in x 14.25in)

Provenance:Sir Donald Currie KCMG

£5,000-7,000

119 FA215/3JAMES PEEL R.B.A.(BRITISH 1811-1906)HOMEWARD BOUNDSigned and dated 1877, oil oncanvas

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

£1,000-1,500


Fine Paintings

98

120 FA844/1GEORGE BLACKIE STICKS(BRITISH 1843-1938)GYPSY ENCAMPMENTSigned and dated 1874, oil oncanvas


£1,500-2,000

121 FA871/8ALFRED DE BREANSKISENIOR (BRITISH 1852-1928)NEAR INVERSNAID, LOCHLOMONDSigned, signed and inscribedverso, oil on canvas


£7,000-10,000


Fine Paintings

99

122 FA843/8THOMAS BROMLEYBLACKLOCK(SCOTTISH 1863-1903)ON THE MUIRTON,BLAIRGOWRIESigned and dated ‘97, signed,inscribed and dated verso, oilon canvas

41cm x 58cm (16in x 22.75in)

£1,500-2,000


Fine Paintings

100

123 LB409/2THOMAS ROSE MILES(BRITISH 1869-1910)UNLOADING THE CATCHSigned, oil on canvas


£1,000-1,500

124 FA500/22FRANK O. SALISBURY(BRITISH 1874-1962)THE LATEST FASHIONSigned, oil on canvas

102cm x 81cm (40in x 32in)

£1,000-1,500


Fine Paintings

101

125 FA770/1ANTON BURGER(GERMAN 1824-1906)SHEPHERD AND FLOCK ONHEATHLANDSigned and dated 1881, oil oncanvas


£800-1,200


Fine Paintings

102

126 LB407/2ATTRIBUTED TO MARGARETNASMYTHON THE WAY TO MARKETOil on canvas


£2,000-3,000

127 FA843/6ALFRED DE BREANSKISENIOR (BRITISH 1852-1928)THE HEADS OF LOCHLOMONDSigned, oil on canvas


£6,000-8,000


Fine Paintings

103

128§ FA860/55HUGO GOLLI CALLED VALLIN(ITALIAN b. 1921)A TRANQUIL VENETIANCANALSigned, oil on canvas


£2,000-3,000


Fine Paintings

104

129 FA845/6BERNARD POTHAST(DUTCH 1882-1966)THE NEW ARRIVALSigned, oil on canvas

80cm x 100cm (31.5in x 39.5in)

£7,000-10,000


Fine Paintings

105

130 FA845/1WILLIAM ALFRED GIBSON(SCOTTISH 1866-1931)ON A DUTCH CANALSigned, oil on canvas


£2,000-3,000


Fine Paintings

106

131 FA844/219TH CENTURYSCOTTISH SCHOOLCURLERS ON A FROZENLOCHOil on canvas


£1,000-1,500

132 FA871/7SIDNEY RICHARD PERCY(BRITISH 1821-1886)HIGHLAND CATTLEWATERING IN A MOUNTAINLOCHSigned and dated 1871, oil oncanvas

61cm x 95cm (24in x 37.5in)

£20,000-30,000


Fine Paintings

107

133 FA576/2WILLIAM BRADLEY LAMONDR.B.A. (SCOTTISH 1857-1924)AUTUMN PLOUGHINGSigned, oil on canvas


£1,500-2,000


Fine Paintings

108

134 FA753/2THOMAS CORSAN MORTON(SCOTTISH 1859-1928)AN AUTUMN LANDSCAPESigned, oil on canvas

45cm x 56cm (17.7in x 22in)

£600-800

135 FA869/1JOSEPH FARQUHARSON R.A.(SCOTTISH 1846-1935)A GLIMPSE OF LOCHKATRINESigned, oil on canvas


£3,000-5,000


Fine Paintings

109

136 FA156/2JAMES WRIGHT R.S.W.(SCOTTISH c. 1885-1947)SEPTEMBER, BRUGESSigned, oil on panel


£1,000-1,500


Fine Paintings

110

137 FA470/1JOHN PATRICK DOWNIER.S.W. (SCOTTISH 1854-1945)GOOD FRIENDSOil on canvas


Exhibited:Royal Glasgow Institute of the FineArts 1918, no.287

£800-1,200


Fine Paintings

111

138 FA994/17LOUIS BOSWORTH HURT(BRITISH 1856-1929)HIGHLAND CATTLEWATERING IN A MOUNTAINLOCHSigned, oil on canvas


£8,000-12,000

139 FA994/13ALEXANDER BALLINGALL(SCOTTISH 1870-1910)UNLOADING THE CATCHSigned, watercolour


and a companion a pair (2)

£1,500-2,000


Fine Paintings

112

140 FA871/1LOUISE RAYNER(BRITISH 1832-1924)VIEW OF THE LAWNMARKETON THE ROYAL MILE,EDINBURGHSigned, watercolour

51cm x 34cm (20in x 13.5in)

£15,000-20,000


Fine Paintings

113

141 FA156/1HARRY SUTTON PALMER R.I.(BRITISH 1854-1933)LOOKING DOWN THE WYE TOSIMMONS GATSigned, signed, inscribed anddated 1884 on a label verso,watercolour


£500-800


Fine Paintings

114

142 EAA449/6THOMAS MARIEMADAWASKA HEMY(BRITISH 1852-1937)SHIPPING ON THE THAMES,TOWER OF LONDON IN THEDISTANCESigned and dated 1883,watercolour

63cm x 101.5cm (25in x 40in)

£1,500-2,000

143 FA871/2LOUISE RAYNER(BRITISH 1832-1924)VICTORIA STREET FROM THEGRASSMARKETSigned, watercolour andbodycolour


£20,000-30,000


Fine Paintings

115

144 FA994/9WILLIAM GEDDES(SCOTTISH 1841-1884)THE DAY’S CATCHSigned, oil on canvas

47cm x 75cm (18.5in x 29.5in)

£1,500-2,000


Fine Paintings

116

145 FA845/7JOSEPH HENDERSON R.S.W.(SCOTTISH 1832-1908)BY THE LOCHSigned, oil on canvas


£2,000-3,000

146 FA994/12JESSIE MCGEEHAN(SCOTTISH 1872-1961)DRESSING-UPSigned, oil on canvas

112cm x 86cm (44in x 33.75in)

£4,000-6,000


Fine Paintings

117

147 FA220/4JOHN HENDERSON(SCOTTISH 1860-1924)CHILDREN ON THE BEACHSigned, oil on canvas


£2,000-3,000


Fine Paintings

118

148 FA959/1JOHN HOWARD LYON(SCOTTISH c. 1870-1921)THE HAUNT OF THE GULLSigned, oil on canvas

60cm x 101cm (23.5in x 39.75in)

Provenance:Drambuie Collection

£1,500-2,000

149 FA846/2JOHN HENDERSON R.S.W.(SCOTTISH 1860-1924)SEASIDE COTTAGES,BALLANTRAESigned, oil on canvas

76cm x 102cm (30in x 40in)

£3,000-5,000


Fine Paintings

119

150 FA871/6JOSEPH FARQUHARSON R.A.(SCOTTISH 1846-1935)GLOWED WITH TINTS OFEVENING’S HOURSigned and dated 1911, oil oncanvas

102cm x 152.5cm (40in x 60in)

Exhibited:Royal Academy 1911, no.119

Literature:Royal Academy Pictures andSculpture 1911, Illustrated, Cassell& Company Ltd, London

£100,000-150,000

The hill, the vale, the tree, thetower,

Glowed with the tints ofevening’s hour,

The beach was silver sheen,The wind breathed soft aslover’s sigh,

And, oft renewed, seemed oftto die

With breathless pausebetween.

- Sir Walter Scott,The Lord of the Isles,

XIII: 15-20


Fine Paintings

121

Although trained in Paris andexhibiting in London, JosephFarquharson was deeply tiedto the Scottish countrysideand his Finzean estate, as thesource for the title of thispainting illustrates. He wasborn in 1847 in Edinburgh,and began his artisticeducation at the Trustees’Academy, and at the lifeclasses of the Royal ScottishAcademy, where he firstexhibited at the age of justfifteen. This work, titled Studyfrom Nature, is perhapsprophetic of his matureinterest in the natural world,and the snow-ladenlandscape scenes for whichhe would later becomefamed. His precocious talentmight also have hinted at hisfuture development into apainter whose ‘extraordinaryvirtuosity’ would be admiredby fellow artist WalterSickert.1

The young Farquharson wasmuch influenced bylandscape painter PeterGraham, however the fourwinters from 1880 that hespent under the tutelage ofCarolus-Duran in his Parisianatelier proved to be a turningpoint in his development asan artist. The Frenchacademic painter discouragedhis pupils from using underdrawings, instead urging

them to shape the forms oftheir work directly on thecanvas in paint. Indeed, inFarquharson’s work, such asthis painting, we observe hismasterful - and traditional -painterly technique, whichSickert believed led to thecontemporary viewer’s ‘slightsense of playing truant fromBloomsbury’. Whilst in ParisFarquharson would also havehad the opportunity toexperience first-hand theworks of the Barbizon Schooland the Impressionists, famedfor their work en plein airand, indeed, in 1881 heexhibited the snowscapePaysage - effet d’hiver at theSalon. Returning to Scotland,however, he ingeniouslyadapted the methods of hiscontinental counterparts tothe harsher northern climateby building a number ofheated painting hutsthroughout the Finzeanestate. Safe in their relativewarmth, Farquharson couldobserve the effects of a dyingday’s light on snow and treesfrom behind a large glasswindow, sometimes waitingweeks in order to capture afleeting atmosphericcondition on canvas.

Farquharson became famedfor his snow-scenes (leadingto the epithet ‘frozen-muttonFarquharson’), exhibiting at

least one each year in theRoyal Academy from 1894 to1925, excepting 1914, the yearof his marriage. This work,exhibited at the RoyalAcademy in 1911, displaysthose qualities most-loved in‘The Painting Laird’s’ work;his faithful capture of thedistant rose glow of anevening sun across a winterlandscape, the scene filledwith a quiet stillness, brokenonly by the beat of a crow’swing through chill winter air.In this world, nature rulessupreme; man’s only trace hisweary tracks beaten throughsnow and mingled with thoseof the sheep he has led on towarmer pastures, thecottages around the stream’sbend bowed beneath theirfrosty blanket, yet hinting atwarmth and companionshipbeside the hearth. Indeed,such works were so admiredthat crowds would eagerlygather around them at theRoyal Academy shows,delighting in each subtlevariation on familiar themes,while prints after hispaintings proved infinitelypopular.

1Irwin, Francina. 1985. JosephFarquharson of Finzean, WaverleyPress, Aberdeen, pg. 5.

151 FA994/1JOHN HENDERSON(SCOTTISH 1860-1924)THE AYRSHIRE COAST ANDAILSA CRAIGSigned, oil on canvas

46cm x 69cm (18in x 27.25in)

£1,500-2,000


Fine Paintings

122

152 FA994/6JOSEPH HENDERSON R.S.W.(SCOTTISH 1832-1908)FISHING BOAT AT SUNSETSigned, oil on canvas


£800-1,200

153 FA871/5JOSEPH FARQUHARSON R.A.(SCOTTISH 1846-1935)SHEEP GRAZING IN A SNOWCOVERED LANDSCAPESigned, oil on canvas


£20,000-30,000


Fine Paintings

123

154 FA842/8ALEXANDER HOHENLOHEBURR (SCOTTISH 1835-1899)JENKIN’S SCHOOLOil on canvas

38cm x 58cm (15in x 22.75in)

£2,000-3,000


Fine Paintings

124

155 FA870/6THOMAS FAED (AFTER)FROM DAWN TO SUNSETBears signature, oil on canvas


£2,000-3,000

156 FA842/1LOUIS BOSWORTH HURT(BRITISH 1856-1929)HIGHLAND CATTLEWATERING IN A MOUNTAINLOCHANSigned, oil on canvas


£3,000-5,000


Fine Paintings

125

157 FA994/8ALFRED DE BREANSKIJUNIOR (BRITISH19TH/20TH CENTURY)EARLY MORNING, RYDALWATERSigned, signed and inscribedverso, oil on canvas


£1,500-2,000


Fine Paintings

126

158 FA864/1JOHN MORRIS (BRITISH19TH/20TH CENTURY)HIGHLAND CATTLE IN AMOUNTAIN GLENSigned, oil on canvas


£1,200-1,800

159 FA457/1ROBERT WATSON(BRITISH 1865-1916)SHEEP ON A MOUNTAINOUTCROPSigned and dated 1904, oil oncanvas


£2,000-3,000


Fine Paintings

127

160 FA491/1JOHN MCGHIE(SCOTTISH 1867-1952)REVERIESigned, oil on panel

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

£1,500-2,000


Fine Paintings

128

161 FA521/1THEOBALD BUTLER GOULD(BRITISH d. 1918)PORTRAIT OF A LADYSigned, oil on canvas

64cm x 52cm (25.2in x 20.5in)

£800-1,200

162 FA220/8WILLIAM ALFRED GIBSON(SCOTTISH 1866-1933)LE LOIR PRÈS LAVARDINSigned, oil on canvas

76cm x 102cm (30in x 40in)

Exhibited:Royal Glasgow Institute 1917, no.1

£3,000-5,000


Fine Paintings

129

163 FA870/7JOHN WATSON MCLEA(SCOTTISH fl. 1832-1861)KIRKCALDY FROMRAVENSCRAIG CASTLESigned, oil on canvas


£2,000-3,000


Fine Paintings

130

164 FA844/7ALFRED DE BREANSKIJUNIOR (BRITISH19TH/20TH CENTURY)THE EVENING LIGHT ON AHIGHLAND LOCHSigned, signed and inscribedverso, oil on canvas


£2,000-3,000

165 FA870/2ROBERT BROWN JOHNSTON(SCOTTISH fl. 1880-1903)WITHIN A MILE OFEDINBURGH TOWNSigned, inscribed on a labelverso, oil on canvas

76cm x 127cm (30in x 50in)


£4,000-6,000


Fine Paintings

131

166 FA457/2CHARLES JAMES LAUDERR.S.W. (SCOTTISH 1840-1920)SAN GIORGIO MAGGIORE,VENICESigned, oil on canvas


£800-1,200


Fine Paintings

132

167 FA508/8ROBERT RUSSELL MACNEEG.I. (SCOTTISH 1880-1952)A COTTAGE GARDENSigned, oil on canvas


£1,500-2,000

168 FA846/8WILLIAM PAGE ATKINSONWELLS(SCOTTISH 1872-1923)‘TATTIE HOWKIN’Signed, oil on canvas


£4,000-6,000


Fine Paintings

133

169 FA845/3ALFRED DE BREANSKISENIOR (BRITISH 1852-1928)THE RANNOCH HILLS, N.B.Signed, signed and inscribedverso, oil on canvas


£4,000-6,000


Fine Paintings

134

170 FA994/10ALFRED DE BREANSKISENIOR (BRITISH 1852-1928)THE LLUGWY IN FLOOD -CAPEL CURIGSigned and dated 1912-13, oilon canvas

81cm x 122cm (31.75in x 48in)

£6,000-8,000


Fine Paintings

135

171 FA161/6ROBERT WINTER FRASER(BRITISH 1872-1930)BY THE RIVER, CARDINGTONSigned, inscribed and dated‘01, watercolour

24cm x 45cm (9.5cm x 17.5in)

and a companion a pair ‘Onthe River Stour’ (2)

£600-900


Fine Paintings

136

171A FA843/3WILLIAM ALFRED GIBSON(SCOTTISH 1866-1931)RIVER LANDSCAPE WITHBOATSigned, oil on panel


£800-1,200

172 FA870/5SIDNEY RICHARD PERCY(BRITISH 1821-1882)NOONSigned, inscribed on a labelverso, oil on canvas


£3,000-5,000


Fine Paintings

137

173 FA457/3WILLIAM LEE HANKEYR.W.S., R.I., R.O.I.(BRITISH 1869-1952)LOADING TIMBER,ST.TROPEZSigned, watercolour

43.5cm x 55.5cm (17.25in x 21.75in)

£600-800


Fine Paintings

138

174 FA870/3HENRY JOHN DOBSON R.S.W.(SCOTTISH 1858-1928)THE BIBLE LESSONSigned, watercolour

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

£500-800

175 FA869/4JESSIE MCGEEHAN(SCOTTISH 1872-1961)LEARNING TO WALKSigned, oil on canvas


£2,000-3,000


Fine Paintings

139

176 FA963/1PHILIP DE LASZLO(HUNGARIAN 1869-1937)HALF LENGTH PORTRAIT OFWILLIAM AIKENSigned and dated 1932, oil oncanvas


£2,000-3,000


Fine Paintings

140

Born in Budapest in 1869,Philip de László was a tailor’sson who would become one ofEurope’s most successful andrespected portrait painters,capturing on canvas thelikeness of heads of state(including four Americanpresidents), members ofEuropean royal families fromour own Queen Elizabeth II toKaiser Wilhelm II, and aplethora of artists, writers,and elegant society ladies. Hisoeuvre is now rightlyrecognised as ‘a mirror to theIndian summer of thearistocrats of Europe in theEdwardian era, through thestorms that swept so manyaway and through to the1930’s, with not a quiver ofuncertainty as to theirfuture.’1

William Aiken was deeplyinvolved with the city ofDundee, and a keen patron ofthe arts. Born in 1880, hebecame City Chamberlain,and served during World WarTwo as Divisional Food Officer.He was appointed Justice ofthe Peace, and in 1949received the Order of theBritish Empire .

His portrait is recorded in theartist’s archive, where welearn that de Lászlócompleted it in a singlemorning on the 26th July1932. Discussing the artist’sfame in his lifetime forcapturing a likeness in undertwo hours, the NationalPortrait Gallery’s Paul

Moorhouse declares that his‘brilliance can now be seenfor what it is. He was anexcellent colourist, awonderful craftsman andhugely accomplished.’2 Theswift, expressive brushwork ofthis portrait conciselycaptures the personality of itssubject, with whom the artisthad developed a friendshipafter first meeting him in1929. It is typical, too, of theartist’s portraits of malesitters (such as that of SirLuke Fildes, held in theNational Portrait Gallery,London), in its warm brownand black background,enlivened by the vividmidnight blue of his suit andtie. Artist and sitterexchanged a number of warm,handwritten letters, whileLucy de László wrote from theFrench Riviera andEastbourne thanking WilliamAiken for the boxes ofshortbread he sent fromScotland! Their friendshipendured, and in 1933 he wasinvited to the wedding of deLászló’s son. Philip de Lászlódied in 1937, some yearsbefore his friend WilliamAiken, who passed away in1950.

1Suzy Menkes, “A Hungarian Artist’sBrush with grandeur,” InternationalHerald Tribune, (January 9, 2004).

2 ‘Portait of a neglected painter:Philip de László’s works to go ondisplay’, The Guardian (Tuesday 23March 2010)

177 LB408/1FREDERIC WHITING R.P.S.,R.S.W., R.I.(BRITISH 1874-1962)HALF LENGTH PORTRAIT OFLORD LOVATSigned and verso, oil oncanvas, unframed


£800-1,200


Fine Paintings

141

‘His was an inspirationalpersonality. Under him, mendid more than they couldpossibly imagine they coulddo, were braver than theyknew themselves to be.’ -Max Harper, Lovat’s staffcaptain, writing in hisobituary.

Born Simon ChristopherJoseph Fraser in 1911, ‘Shimi’Lovat succeeded his father(himself a distinguishedsoldier who raised the LovatScouts during the SecondBoer War) as 17th Lord Lovatand 24th Chief of Clan Fraserof Lovat in 1933. His militarycareer began when he joinedthe Scots Guards,immediately upon graduatingfrom Magdalen CollegeOxford in 1932. Though he leftseveral years later in 1937,upon the outbreak of WorldWar II he joined his father’sregiment, the Lovat Scouts,later transferring to acommando group, whom heled in a famously successfulraid on the Lofoten Islands in1941. Perhaps he is mostwell-known, however, for hisrole in the Dieppe Landing in1942, in which the commandowhich he led captured the

enemy battery nearVarengeville, the only successof the Dieppe Raid. He wasawarded the DSO for his rolein the operation, havingalready received the MilitaryCross for his part in areconnaissance raid onBoulogne. He appears in the1962 film The LongestDay, played by actor PeterLawford.

Lovat served as Joint Under-Secretary for Foreign Affairsin the 1945 caretakergovernment, and continued tospeak on Highland matters inthe House of Lords. He retiredfrom military service in 1962,retaining the honorary rank ofbrigadier until his death in1995.

178 FA497/5WILLIAM CONOR R.H.A.,R.U.A. (IRISH 1881-1958)THE JUICY APPLESigned, pastel

34cm x 26cm (13.5in x 10.25in)

£3,000-5,000


Fine Paintings

142

179 FA860/57WALTER RICHARD SICKERTA.R.A. (BRITISH 1860-1942)DE VENEZIAIndistinctly inscribed, drawing

31cm x 22cm (12in x 8.5in)

£1,500-2,000

180 FA860/56WALTER RICHARD SICKERTA.R.A. (BRITISH 1860-1942)PORTRAIT OF AN ARTISTWITH PALETTESigned and inscribed ‘Dieppe’,oil on canvas

41cm x 32.5cm (16in x 12.75in)

Literature:Wendy Baron, Sickert: Painting andDrawings, New Haven (London:2006), b/w ill. p. 476Provenance;Philips 23rd November 1993 (19) colrepr.With Brandler Galleries, Essex, 1993

£6,000-8,000


Fine Paintings

143

raissonnée of Sickert’s workunder no. 551 and shespeculates that this canvas islikely to date from 1920-1922.Sickert was living just outsideDieppe with his second wife,Christine, but she died fromtuberculosis in October 1920.Sickert was distraught andmany friends, fellow artistsand former students flockedto lend their sympathy andhelp. Baron suspects that thesitter of this portrait is likelyto be one of the female artists,some of them former

Walter Sickert was a prolificartist who played an activerole in the artistic life inBritain, both as a painter andas an art teacher. Born inMunich to a German-Danishfather and an English mother,he moved to London with hisfamily in 1851 and pursued abrief career in acting beforeenrolling in the Slade Schoolof Art and entering the studioof Whistler, becoming hisassistant.

Portrait of an Artist is listed inDr Wendy Baron’s catalogue

students, who visited Sickertduring this time.

One colleague and life-longfriend, Sylvia Gosse, wasalready living close to Dieppe,in a house in Envermeu in theearly 1920s. In fact, shelooked after Christine Sickertin her last months andbecame housekeeper forSickert after his wife’s death.Gosse had studied underSickert in London andpartnered him in running theWestminster TechnicalInstitute in London. A portrait

of hers, offered in theserooms in June 2010, has nowbeen revealed to be a self-portrait and features a hatvery similar indeed to the onein this canvas. Whilst Baronjudges the lack of detail in theface and ‘disingenuousexpression and staring eyes’as making it impossible toconfirm the identity of thesitter in the present work, it iscertainly possible that this isindeed a depiction of Sickert’sloyal friend and fellow artistGosse.

181 FA994/3HANS HANSEN R.S.W.(SCOTTISH 1853-1947)A BUSY STREETSigned, watercolour

30.5cm x 20cm (12in x 8in)

£1,000-1,500


Fine Paintings

144

182 FA646/1ELIAS MOLLINEAUXBANCROFT(BRITISH 1846-1924)THE ORIGINAL ENTRANCE TOTHE TOWN HALL,ROTHENBURGSigned and dated ‘02,inscribed verso, oil on canvas

58cm x 41cm (22.75in x 16in)

£700-900

183 FA5/31EDWARD STOTT A.R.A.(BRITISH 1856-1918)BELATEDSigned, oil on canvas

56cm x 84cm (22in x 32.5in)

Exhibited:Royal Academy 1907, no.307Liverpool Art Exhibition 1907, no.988Rochdale Art Gallery

£15,000-20,000


Fine Paintings

145

A close friend of Millet andBastien-Lepage, Stott trainedin Paris under AlexandreCabanel and at the Ecole desBeaux-Arts under CarolusDuran, before returning toEngland in 1889, where hedevoted himself to producingscenes of rural life around hishome at Amberley, in Sussex .Although influenced by therural naturalism which sweptthrough art across Europe

from the 1880s onwards, hedid not work directly fromnature, but rather becamefamed for his interest inchiaroscuro effects andtwilight scenes, such as thispainting, Belated. Under thedying day’s light, a wearycountry woman drives hercattle towards the invitinglights of home, and thehearth’s warm protectionagainst the chill of night,

accompanied by a flock ofgeese similarly homeward-bound.Having exhibited in Londonsince 1883, Stott became anassociate of the RoyalAcademy in 1906, bequeathinghis estate to the Academy inorder to fund travellingscholarships for future artists.

184 LB411/3DAME LAURA KNIGHT R.A.,R.W.S. (BRITISH 1877-1970)CLOWN STUDY WITH LIONSigned, pen and ink

22cm x 14cm (8.75in x 5.5in)

£1,500-2,000


Fine Paintings

146

184 LB411/2DAME LAURA KNIGHT R.A.,R.W.S. (BRITISH 1877-1970)CLOWN STUDYSigned, inscribed and dated‘Fond greetings to Kay thisChristmas 1960. May 1961bring your heart’s desire -With love from Harold andLaura’ pen and ink and wash

25cm x 20cm (9.75in x 8in)

£1,500-2,000

186 LB411/1DAME LAURA KNIGHT R.A.,R.W.S. (BRITISH 1877-1970)HEAVY LANDSigned, pencil andwatercolour

79cm x 57cm (31in x 22.5in)

£6,000-9,000


Fine Paintings

147


Fine Paintings

148

187 FA993/4SIR WILLIAM ORPEN R.H.A.,R.A. (IRISH 1878-1931)DRAY HORSES, CANYPen and ink and wash


Exhibited:Pyms Gallery, London, B.425

£800-1,200


Fine Paintings

149

188 FA576/1DAME LAURA KNIGHT R.A.,R.W.S. (BRITISH 1877-1970)SOUVENIR OF ROMEO ANDJULIET AT THE REGENT JULY1924Signed, inscribed and dated,charcoal

34cm x 25cm (13.5in x 9.75in)

£1,000-1,500

189 FA452/4SIR WILLIAM RUSSELL FLINTR.A., R.W.S., R.S.W., R.O.I.,R.E. (SCOTTISH 1880-1969)STRIDING NUDESigned, pastel


£1,000-1,500

190 FA459/1LAURENCE STEPHEN LOWRYR.A. (BRITISH 1887-1976)THE HAWKER’S CARTSigned and dated 1929, oil oncanvas

53.5cm x 39.5cm (21in x 15.5in)

Exhibited:Royal Scottish Academy 1934,no.229 where purchased by the RSARoyal Academy of Arts, L.S.Lowry,1976, no.341Salford Art Gallery, L.S.LowryCentennary Exhibition, 1987

£300,000-500,000


Fine Paintings

150

Born in Salford in 1887, L SLowry rarely left Manchesterand Salford and indeed GreatBritain, despite regularlyexhibiting north of the border,in Europe and in France inparticular. Self-taught tosome extent, Lowrymaintained employment as acashier at the Pall MallProperty Company in Salfordand as a clerk for a firm ofaccountants throughout hislife. His role as a rentcollector allowed him to roamSalford and Manchesterexploring the urbanlandscape and its inhabitants.The Hawker’s Cart is typicalof his paintings from the late1920s and early 1930s whenhe had just finished attendingSalford School of Art and hadalmost fully developed hisunique visual aesthetic andthe sort of subject matterwhich was to remain ofconstant interest throughouthis career. The year justbefore the Hawker’s Cart waspainted, 1928, was significantbecause it saw theemergence of Flake White ashis most important pigment.

It is most dominant in termsof the proportion of thecanvas it occupies. Lowryeventually took to ageing thebackground colour of thecanvas, applying the pigmentand letting it sit for severalyears so that the hue took onan off-white colour, the betterto blend with the narrowpalette used by the artist.

The Hawker’s Cart containsall the components of asuccessful Lowrycomposition, from thewhimsical foregroundedpeople and pets, through thejaunty tenements in themiddle ground and thevertical chimneys spewing outsmoke towards the grey sky,albeit domestic and notindustrial. It is often said thatmany of Lowry’s compositionstake on the quality of a stage-set, and that is particularlyevident here, as the buildingon the right of thecomposition in particular hastaken on a theatricalcoulisses-like quality, framingour window onto this streetscene. This view was alsorecently propounded by theNorthern-born actor Sir IanMcKellan who pointed out in aprivate debate on Lowry’swork held in London in 2009the popularity of theatre andthe proliferation of theatres,music halls and theatrehouses in the GreaterManchester area, no less than64 according to Sir Ian. Lowrywas certainly an ardenttheatre-goer and in particular

an admirer of the work of theManchester School ofdramatists such as HaroldBrighouse and StanleyHoughton. The presentcomposition is strongly linkedwith a series of works, on asimilar scale from the late1920s and first half of 1930swhich depict men and womensometimes going about theirbusiness, more frequentlyengaged in a more dramaticscene, as depicted in TheArrest, 1927 (Castle MuseumNottingham), or The Fight1935 (The Lowry). Thesepaintings and the present onehappily portray the theatre ofeveryday life and theentertainment it provides. Inthis case, the viewer isfocused on the relatively un-dramatic episode of theHawker’s Cart arriving andenticing local residents withits produce, but the elementof the community watchinggoings on is ever-present inthe figures amongst thewindow curtains, observingthe street and the

protagonists below, or indeedlooking at the viewer who is inturn yet another observer ofthe scene.

Whilst Lowry did not venturenorth of the border until 1944when he visited Edinburgh foran exhibition, returning topaint in Glasgowsubsequently, he frequentlyexhibited at the Royal ScottishAcademy from 1930 to 1939.The present painting waspossibly exhibited in Rochdalein 1931 and was bought by theRoyal Scottish Academy theyear it was exhibited there in1934, the same year that hewas elected a member of theManchester Academy and theRoyal Society of BritishArtists. The RSA clearlyrecognised the contributionLowry was to make totwentieth century painting atan early stage in his career,more than twenty yearsbefore Lowry was elected asan Associate of the RoyalAcademy in London, let alonea full member which did nothappen until 1962.

191 FA546/1WILLIAM LIONEL WYLLIER.A. (BRITISH 1851-1931)CASSILIS CASTLESigned and dated 1909,watercolour

46cm x 28cm (18.1in x 11in)

£800-1,200


Fine Paintings

152

192 FA846/7KATHARINE CAMERONR.S.W., R.E.(SCOTTISH 1874-1965)THE MERMAID ROSESigned, watercolour


£1,000-1,500

193 FA161/4JAMES WATTERSTONHERALD(SCOTTISH 1859-1914)WOODED LANDSCAPE WITHWINDMILLSigned, watercolour

26cm x 23cm (10.25in x 9in)

£500-800


Fine Paintings

153

194 FA804/2JAMES WATTERSTONHERALD(SCOTTISH 1859-1914)ST. PAULS FROM THETHAMES, SUNSETWatercolour

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

£1,000-1,500

195 FA876/1SIR HERBERTHUGHES-STANTON R.A.(BRITISH 1843-1937)WASHERWOMEN ON THEBANKS OF A RIVER, ITALYSigned, oil on canvas


£3,000-5,000


Fine Paintings

154

196MYLES BIRKETT-FOSTERR.W.S. (BRITISH 1825-1899)STORMY DAY, ST. ANDREWSSigned with a monogram,watercolour

58cm x 84cm (22.75in x 33in)

£8,000-12,000


Fine Paintings

155

197 FA804/31JAMES WATTERSTONHERALD(SCOTTISH 1859-1914)FEEDING THE SWANSIndistinctly signed, pastel

53cm x 44.5cm (21in x 17.5in)

£2,000-3,000


Fine Paintings

156

198 LB333/1SHEILA FELL R.A.(BRITISH 1931-1979)HOUSES ON BUTTERMEREOil on canvas

91cm x 70cm (35.75in x 27.5in)

Note:Partial label verso suggests that thepainting may have been with RolandBrowse and Delbanco, London

Provenance:Lady Kennet

£4,000-6,000

199 FA844/4JAMES WATTERSTONHERALD(SCOTTISH 1859-1914)MARKET DAYSigned, pastel


£2,000-3,000


Fine Paintings

157

200 FA869/3ARTHUR PERCY DIXON(SCOTTISH fl. 1884-1917)PRINCES STREET GARDENSLOOKING WEST TO THENATIONAL GALLERY ANDCASTLESigned, oil on canvas


£1,000-1,500

201 FA876/3EMILY BEATRICE BLAND(BRITISH 1867-1954)A STILL LIFE OF SUMMERFLOWERSSigned, oil on canvas


Exhibited:Venice Biennale 1936, no.121

£2,000-3,000


Fine Paintings

158

202 EAC207/1ETHEL CARRICK FOX(AUSTRALIAN 1872-1952)A STILL LIFE OF MIXEDFLOWERSSigned, oil on board


Note:The authenticity of this painting hasbeen confirmed by Susanna de Vriesauthor of Ethel Carrick Fox, Travelsand Triumphs of an Impressionist.She suggests a date of 1907-10.

£2,000-3,000


Fine Paintings

159

203 FA792/1DOROTHEA SHARP(BRITISH 1874-1955)STILL LIFE OF SUMMERFLOWERSSigned, oil on board


£3,000-5,000

203A FA220/6KATE WYLIE(SCOTTISH 1877-1941)MIXED FLOWERSSigned, oil on canvas


£800-1,200


Fine Paintings

160

Over her long career MaryFedden has become one ofthe nation’s most-treasuredartists. Writing aboutFedden’s enduring appeal,Christopher Andreaedeclares:

Her work can becomesomething of an addiction.More than one collectorhas been known to sleepon the pavement outside agallery all night so as notto miss the opportunity ofbuying a favourite.

Perhaps part of the appeal ofher work lies in its apparentsimplicity coupled with itsexquisite execution, anchoredin the long pictorial traditionof Dutch still life andunderpinned by her earlyformation at the Slade Schoolof Art. Indeed, Fedden’s is anoeuvre that merits closeinspection, and while herconcise and effectivecompositions provideimmediate pleasure(demonstrated by theirpopularity in reproduction asprints and postcards, chinaand textiles), our delight canonly be enhanced by alingering gaze andappreciation of her painterlyskill, her brush strokes aseasily identifiable as asignature.

After a war spent in the LandArmy and as a staff driver inFrance and finally Germany,Fedden soon built on thefoundations of her Sladetraining, and her work wasprofoundly influenced by theseismic shifts which shookpainting in the post-war

years. Her favoured motif isthat of a still life at a window,in which the gaze firstsavours the transient beautyof flowers before appreciatingthe landscape beyond, animage which appearsrepeatedly in the works ofmodernist English painterssuch as Paul Nash,Christopher Wood, and JohnPiper. Perhaps the mostsignificant influence onFedden’s artistic and personaldevelopment, however, washer relationship with artistand poet Julian Trevelyan,with whom she lived for manyhappy years at DurhamWharf, on the Thames atChiswick.

Trevelyan and Fedden marriedin 1951, and while the artistclaims that she does notconsciously imbue her still-life works with symbols andhidden meanings, we mightwonder at the significance ofthe ivy- long a symbol of loveand undying fidelity- whichwraps itself tenaciously roundthe base of the vase in thisStill Life With Candle, paintedin the same year. Here weobserve the freshness of theartist’s post-war style, movingbeyond the muted naturalismof her Slade years, and alsothe Neo-Romantic strainwhich runs throughoutFedden’s work and manifestsitself in the surrealatmosphere of the painting, inwhich summer and winterblooms mingle under thewarm glow of a candle, andagainst the backdrop of asnow-covered landscape ripewith narrative potential.

the cold Onegin, takes up herquill to declare her love forhim:

I write to you – no moreconfession

is needed, nothing’s left totell.

I know it’s now in yourdiscretion

with scorn to make myworld a hell.

Alas for Tatiana, her love isscorned until it is too late, yetFedden clearly captures theanguish which drives Tatianato confession, and the hopewhich fills the moment of theletter’s composition,translating onto canvas themagical beauty ofTchaikovsky’s score.

Mary Fedden was elected tothe Royal Academy andreceived the OBE in the1990’s. Her work is includedin numerous publiccollections including The TateCollection, HM The Queen’sCollection, and NationalGallery of New Zealand.

We find the same dramatictension in the later painting,Tatiana and the Letter,executed in 1994. This workcombines elements ofFedden’s preferred genre, stilllife, with the suggestion of amoonlit landscape beyond theopen window, and theinclusion of a female figurepouring over a freshly writtenpage. While studying at theSlade, Fedden was mostaffected by her tutor VladimirPolunin, a theatre designerwho had worked with theBallets Russes, and thebillowing curtain which oftenreappears in her paintings isa testimony to the influencewhich he proved to be onFedden, who indeed designedsets for performances atSadler’s Wells before optingto dedicate herself to easelpainting. The curtain not onlyneatly frames the composition(as in traditional works suchas Vermeer’s The Art ofPainting), but also lends anelement of theatricality, andsense that the scene might bea play unfolding before oureyes, inviting interpretation.

Indeed, it is not surprising todiscover that the painting wasincluded in an exhibition heldto accompany Glyndebourne’s1994 opera season. Fedden(who as an opera lover hasdesigned a number ofprogramme covers and otherpromotional material forGlyndebourne), chose toillustrate a key moment inTchaikovsky’s EugeneOnegin. In a celebrated aria,the heroine, Tatiana, realisingthat she is utterly in thrall to

204§ FA860/37MARY FEDDEN R.A.(BRITISH b. 1915)TATIANA AND THE LETTERSigned and dated 1994, oil onboard


Exhibited:Glyndebourne Festival 1994 whereillustrated in the FestivalProgramme. It is not unreasonableto suggest that the painting wasinspired by the opera Eugene Oneginshown at Glyndebourne that year.

£6,000-8,000


Fine Paintings

161


Fine Paintings

162

205§ FA860/39MARY FEDDEN R.A.(BRITISH b. 1915)MIXED FLOWERS IN A JUGSigned and dated 1951, oil oncanvas


£8,000-12,000


Fine Paintings

163

206§ FA860/38MARY FEDDEN R.A.(BRITISH b. 1915)WINTER STILL LIFE WITHCANDLESigned and dated 1950, oil oncanvas


£4,000-6,000


Fine Paintings

164

207 EAC150/19JOHN MCNAIRN(SCOTTISH 1910-2009)STILL LIFE IN BROWN VASESigned, oil on board


£800-1,200

Born in the Scottish Bordersin 1910, John McNairnenjoyed a long and fruitfulartistic career. He began histraining at Edinburgh Collegeof Art in 1927 (a particularlyproductive and exciting time inthe College’s history), beforecontinuing his studies in Parisat the Académie Scandinaveunder Othen Friesz. While themost talented students of theCollege had traditionallyundertaken further studyabroad, his choice ofAcadémie was somewhatunusual, yet allowed him topursue his interest in Post-Impressionism and a directand truthful style of painting.Whilst in Paris he would meetRobin John, Julian Trevelyan,and S.W. Hayter, developingfriendships which would beinfluential in the shaping ofhis artistic career. McNairnwould later travel extensivelyin Spain, and served in Indiaduring WWII. Upon his returnhe would become Head of Artat Selkirk High School, alsomeeting his wife, fellow artistStella McNairn, with whom hefounded a gallery. JohnMcNairn passed away in 2009.


Fine Paintings

165

208 EAC150/2JOHN MCNAIRN(SCOTTISH 1910-2009)THE ETTRICK VALLEY INWINTERSigned, oil on board

71cm x 122cm (28in x 40in)

£2,000-3,000

209 EAC150/12JOHN MCNAIRN(SCOTTISH 1910-2009)BROWN LANDSCAPESigned, oil on board


£1,000-1,500


Fine Paintings

166

210 FA860/23JOHN ARMSTRONG A.R.A.(BRITISH 1893-1973)PIERROTSigned with a monogram, oilon board

122cm x 69cm (48in x 27in)

Provenance:New Grafton Gallery, London

Exhibited:Arts Council of Great Britain, JohnArmstrong, 1975, no.108

£6,000-9,000


Fine Paintings

167

211 FA860/24JOHN ARMSTRONG A.R.A.(BRITISH 1893-1973)MONUMENTAL FIGUREGROUPSigned with a monogram, oilon canvas

69cm x 61cm (27.25in x 24in)

£4,000-6,000


Fine Paintings

168

212 FA860/3ANTOINE BLANCHARD(FRENCH 1910-1988)LES GALERIES LAFAYETTE,BOULEVARD HAUSSEMANN,PARISSigned, signed and inscribedverso, oil on canvas


£2,000-3,000

213 FA842/7HERBERT DAVIS RICHTERR.I., R.S.W., R.O.I., R.B.A.(BRITISH 1874-1955)STILL LIFE WITH TRAYSigned, oil on canvas


£1,500-2,000


Fine Paintings

169

214 FA592/1GEORGE LESLIE HUNTER(SCOTTISH 1877-1931)STILL LIFE OFCHRYSANTHEMUMSigned, oil on board


£8,000-12,000


Fine Paintings

170

Born in St Andrews in 1912,Wilhelmina Barns-Graham’sartistic career would spanover seven decades,constantly driven by freshinspiration and anoverwhelming creativeimpulse. During her lifetimeshe would struggle with thecritical eclipse of her work infavour of fellow members ofthe St Ives School with whichher name has becomeinextricably linked.Undaunted, however, shewould continue to producework of astounding beautyuntil the last months of herlong and full life, and is nowrecognised as one of thegreatest British artists of the21st century.

illustrating the artist’scontinuing attraction to stronggeometric forms, in thisvibrant and playful depictionof a sun-drenched afternoonon St Ives’ Porthmeor Beachwe see Barns-Grahamreturning to the figurativestyle of her early work.

Art historians have seen 1988as the beginning of a finalphase in Barns-Graham’sdevelopment, a late burst ofcreativity that would last untilthe end of her life. Havingbeen reminded of her ownmortality by a period of severeillness, her work would attaina higher pitch of urgency andfreedom of expression.In Eight Lines- WaveRhythms, we see the masterlydraughtsmanship and skilfulmanipulation of line for whichBarns-Graham had firstgarnered critical praise in her1950 chef-d’oeuvre, GlacierCrystal, Grindenwald. In thislater work, the fluid lines ofwaves hum with all the latentenergy of the ocean, flooded,in their ogilvie forms, with asynaesthetic evocation ofmusic.

American AbstractExpressionism, however,ensured that 1958 would marka turning point in Barns-Graham’s pictorial approach.At this time her work becamefreer, and more painterly;hard geometric edgessoftening as brushwork itselfcame to play a role asimportant as colour and linein her canvases, as in the richgreen-hued Untitled.

Alongside her more abstractwork, Wilhelmina foundconstant inspiration inlandscape, such as the goldenpatchwork tints of rollingScottish hills in her work of1987, September in Orkney.Barns-Graham visited Orkneyseveral times throughout the1980’s, and indeed on anearlier trip she had delightedin the natural geological slabpatterns of Warbeth’s beach,recreating them in the fineacrylic Warbeth No. 4, (1985),in which they attain the clarityand deep tone of stainedglass. Quite different inatmosphere is the brightgouache of 1986, SummerPainting Series (No. 4). While

Barns-Graham divided hertime between Cornwall andFife, and so too her artisticinfluences and training werefed both by her training atEdinburgh School of Art, andby the fertile creativeatmosphere of St Ives. Herefrom 1940 she would meetand befriend the leaders ofthe new School; BenNicholson, Barbara Hepworthand Naum Gabo. Artisticosmosis was inevitable in thissmall Cornish town whichwould become renownedinternationally as the seat ofModernism in Britain , yetBarns-Graham would soondevelop her own clearpictorial vocabulary in suchworks as Pink. Part of her1954 ‘Geoff and Scruffy’series, this strongly structuralwork (in which the artistcombines rich colour withfirmly-modelled geometricshapes) demonstrates thebold steps into abstractionwhich would lead critics tolabel the artist in this decadeas Britain’s foremost femaleabstract painter. A trip to theBalearic Islands , combinedwith her first encounter with

215 FA451/3WILHELMINABARNS-GRAHAM C.B.E.,H.R.S.A., H.R.S.W.(SCOTTISH 1912-2004)SEPTEMBER IN ORKNEY 1Signed and dated 1987, oil onhardboard

30cm x 90.8cm (11.75in x 35.75cm)

Provenance:The Barnes-Graham Trust

£5,000-7,000


Fine Paintings

171

216 FA451/6WILHELMINABARNS-GRAHAM C.B.E.,H.R.S.A., H.R.S.W.(SCOTTISH 1912-2004)WARBETH 4Signed and dated Oct 1985,acrylic on paper on hardboard

53cm x 17.7cm (20.75in x 7in)


£5,000-7,000


Fine Paintings

172

217 FA451/1WILHELMINABARNS-GRAHAM C.B.E.,H.R.S.A., H.R.S.W.(SCOTTISH 1912-2004)WAVE RHYTHMSSigned and dated 1988,acrylic on card

14.8cm x 20.1cm (5.75in x 8in)


£2,000-3,000


Fine Paintings

173

218 FA451/2WILHELMINABARNS-GRAHAM C.B.E.,H.R.S.A., H.R.S.W.(SCOTTISH 1912-2004)SUMMER PAINTING SERIES(NO.4)Signed and dated 1986,gouache

56.3cm x 76.7cm (22.25in x 30.25in)


£4,000-6,000


Fine Paintings

174

219 FA451/4WILHELMINABARNS-GRAHAM C.B.E.,H.R.S.A., H.R.S.W.(SCOTTISH 1912-2004)PINK 1954Signed, inscribed and dated1954 verso, oil on canvas

55.5cm x 40cm (21.75in x 15.75in


£10,000-15,000


Fine Paintings

175

220 FA451/5WILHELMINABARNS-GRAHAM C.B.E.,H.R.S.A., H.R.S.W.(SCOTTISH 1912-2004)UNTITLED - MARGARETSERIES 1958Oil on canvas

70.8cm x 90.8cm (27.75in x 35.75in)


£12,000-16,000

Proceeds from the sale ofthese works will help fund theWilhelmina Barns-Graham’svital work from theirheadquarters, the artist’sScottish studio, Balmungo,which will be reopening inJune following extensiverefurbishment. It will serve asa centre of research for theartist’s life and work, housing

her art collection and archive,and will host residencies ofboth artists and writers. Inaddition, the Trust willcontinue to offer scholarshipsto art students from aroundthe UK , equally crucial totheir development as thetravelling scholarship whichallowed the young Willie tofirst settle in St Ives.


Fine Paintings

176

Carel Weight’s work is imbuedwith a unique atmosphere atonce comfortingly familiar,and strangely unsettling. Bornin Paddington in 1908, theartist spent much of hischildhood with his godmotherin the then working-classdistrict of Fulham, andrunning like a refrainthroughout his work aremotifs of everyday Britishexperiences such as thisscene, The Village Cup Tie. Aneternal image of rural life, thepainting neverthelesscaptures a very specific andtense moment in time; theball forever suspended inmid-air, never to meet theready embrace of thegoalkeeper’s outstretchedhands, while the referee’swhistle rings without cease toa collective intake of breath.With its inclusive crowd ofmen and women, children andgrandparents, the focus of thepainting is nevertheless theisolated figure of a player,head bowed in shame as allpoint accusingly towards hisfallen opponent. Anchoringthe whole is the unwaveringmass of the local church, itsage-old stone solid against aforbidding sky, amidstbranches bent beneathbuffeting windsWriting about his life-longfriend in an introduction to theRoyal Academy’s 1982retrospective of Weight’sworks, Ruskin Spearsdescribes how ‘Carel at thistime was a great mine ofinformation; he seemed to

have read Art History from thecradle, and his knowledge ofthe technique of oil paintingwas extensive.’1 Indeed, whilehis oeuvre is clearly of histime, in dialogue with theworks of Stanley Spencer inits surreal undercurrents andevocative, in his love ofnarrative detail, of Lowry’snorthern crowd scenes, TheVillage Cup Tie also manifestsWeight’s interest in the workof Pieter Brueghel. Hisvillagers, gleefully cheeringon their yellow striped orazure champions, theircharacters skilfully renderedthrough the idiosyncrasies ofdress, echo their distantDutch counterparts, takingequal joy in a sporting activityshared as Brueghel’s winterskaters.

In contrast to the rural settingof The Village Cup Tie,Weight’s Foxwood is typical ofanother strong strain runningthrough his oeuvre, namelysuburban scenes of ‘strangehappenings in the commonplace’ which gave rise to theepithet of ‘the AlfredHitchcock of Englishpainting.’2 In a seeminglyunremarkable London streetof Victorian homes,something quite out of theordinary is indeed takingplace: a screaming ladyclutches at her hair, whichstands on end with fright; aboy rushes from his doorstepand another stands frozenwith shock. The figures whichpeople this surreal worldserve, like the chorus of a

Peter Blake, David Hockney,and John Bratby. In 1965 hewas elected to the RoyalAcademy , having beenawarded the CBE in 1962. Hiswork is now included in theTate Collection.

1Carel Weight RA: A RetrospectiveExhibition. Belmont Press,Northampton, 1982.

2Strange Happenings in theCommon Place: A RetrospectiveExhibition of the work of ProfessorCarel Weight R.A. C.B.E. Mid WalesLitho Ltd., 1993, pg.

Greek tragedy, tocommunicate through theirexaggerated expressions thefear inspired in them bywhichever unseen horror istaking place beyond thepicture-plane. Ouranticipation of impendingdoom is heightened by thecontrast between the work’squotidian backdrop and itscharacters’ uncustomaryresponse, and, as in a horrorfilm, by the artist’s decisionnot to describe the object oftheir fear, but rather to allowour imaginations to conjureour own monsters.Nevertheless, underpinningthe scene is an element ofhumour present in much ofWeight’s work, only enhancedby the almostanthropomorphic housewhich surveys the scene,combined with the blitheindifference of the girl calmlycontinuing with her day on theright of the canvas.

Weight first trained atHammersmith School of Art,winning a scholarship to theRoyal College of Art which,however, he sacrificed for thesake of economy, enrollinginstead at Goldsmith’sCollege. During World War IIhe became an official WarArtist, travelling through Italyand later Vienna and Greece ,where he recorded the scarsof war upon great arthistorical sites. In the post-war years, he became a tutorat the Royal College of Art,nurturing a generation ofgreat British talent including

221 FA860/9CAREL WEIGHT R.A.(BRITISH 1908-1997)FOXWOODSigned, oil on canvas

89.5cm x 94.5cm (35in x 37in)

Provenance:Bernard Jacobson Gallery, London1968

Exhibited:Newport Museum and Art Gallery,1993, ‘Strange Happenings in theCommon Place: A retrospectiveexhibition of the work of CarelWeight C.B.E., R.A.’

Literature:Carel Weight R.A. - A retrospectiveExhibition, Belmont Press 1982

£6,000-8,000


Fine Paintings

177


Fine Paintings

178


Fine Paintings

179

222 FA860/10CAREL WEIGHT R.A.(BRITISH 1908-1997)VILLAGE CUP TIESigned and inscribed verso,oil on panel

91cm x 130cm (36in x 51.25in)

Note:This painting dates from 1946

Provenance:Austin Desmond Fine Art Limited,London

Exhibited:Newport Museum and Art Gallery,1993, ‘Strange Happenings in theCommon Place: A retrospectiveexhibition of the work of CarelWeight C.B.E., R.A.’Gallery 27, London, ‘England’s Gloryan Exhibition of Football’

Literature:Carel Weight R.A - A retrospectiveExhibition, Belmont Press 1982

£15,000-20,000

END OF SALE


Fine Paintings

180

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, possibly 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


Fine Paintings

181

Index

Adam, P.W., 32, 34Allan, R.W., 6Armour, M., 74, 93Armstrong, J., 210, 211

Ballingall, A., 139Bancroft, E.M., 182Bannatyne, J.J., 24Barnes, E.C., 115Barns-Graham, W., 215-220Beattie-Brown, W., 31Beaumont, F.S., 116Birkett-Foster, M., 196Blacklock, T.B., 122Blanchard, A., 212Bland, E.B., 201Bough, S., 4, 7, 49, 63Brough, R., 13, 42Brown, W.M., 22Burger, A., 125Burns, R., 57Burr, A.H. 154

Cadell, F.C.B., 81, 91Cameron, H., 56Cameron, K., 192Cameron, Sir D.Y., 64, 80Conor W., 178Coventry, R.M., 27Cowie, J., 89Crawford, E.T., 2Cursiter, S., 14

Davis, W., 118de Breanski, A. Junior, 157,

164de Breanski, A. Senior, 121,

127, 169, 170de Loutherbourg, P.J., 109,

110de László, P., 176Dixon, P.D., 200

Dobson, H.J. 174Downe, J.P., 137

Eardley, J., 83-88, 90Earl Haig, 108

Faed, T., 45Faed, T., after, 155Farquharson, D., 17, 30, 40Farquharson, J., 135, 150, 153Fedden, M., 204, 205, 206Fell, S., 198Flint, Sir W.R., 188Foggie, D., 5Fox, E.C., 202Fraser, R.W., 171Frazer, W.M., 9

Gauld, D., 28, 29Geddes, W., 144Gibson, W.A., 130, 162, 171AGiles, J., 39Gillies, Sir W.G., 94, 95Golli, H., called Vallin, 128Gould, T.B., 161Graham, P., 8, 41, 54

Hankey, W.L., 173Hansen, H., 181Hemy, T.M.M., 142Henderson, J., 145, 147, 149,

151, 152Herald, J.W., 193, 194, 197,

199Hislop, J., 97, 98Houston, G., 62, 65Houston, J., 105, 106, 107Hughes-Stanton, Sir H., 195Hunt, W.H., 112Hunter, G.L. 214Hurt, L.B., 138, 156Hutchison, R.G., 23, 58, 75

Johnston, R.B., 165Johnstone, G.W., 37

Kay, A., 16Kay, J., 35, 67, 68, 70, 72, 73Knight, Dame L., 184, 185,

186, 188

Lamond, W.B., 133Lauder, C.J., 166le Jeune, J.M.M., attributed

to, 111Leyde O., 47Lorimer, J.H., 26Lowry, L.S., 190Lyon, J.H., 147

MacNee, R.R., 167McClure, D., 78McCulloch, H., 38McGeehan J., 146, 175McGhie J., 160McGown, R., 49McGregor, R., 11McKay, W.D., 36McLea, J.W., 163McNairn, J., 207, 208, 209McTaggart, W., 51-54, 60Miles, T.R., 123Milne, J.M., 77, 82, 92, 99Morris, J., 158Morton, T.C., 134Murray, Sir D., 50, 61

Napier G., 113Nasmyth, A., 117Nasmyth, M., attributed to,

126Nicol, E., 46Noble, R., 15

Orpen, Sir W., 187

Palmer, H.S., 141Paterson, J., 59Patrick, J.M., 18, 19, 20, 43,

44, 76Peel, J., 119Peploe, S.J., 96Percy, S.R., 132, 172Perigal, A., 25Philipson, Sir R., 100-104Pothast, B., 129

Raeburn, Sir H., attributed to,114

Rayner, L., 140, 143Reid, G.O., 10Reid, R.P., 21Reid, Sir G., 66Richter, H.D., 213Riddel, J., 1

Salisbury, F.O., 124Scott, T., 3Scottish School, 131Shanks, W.S., 69Sharp, D., 203Sickert, W.R., 179, 180Smith, G., 33Sticks, G.B., 120Stott, E., 183Sylvester, H.J., 12

Watson, R., 159Weight, C., 221, 222Wells, W.P.A., 168Whiting, F., 177Wilson, W., 71, 79Wright, J., 136Wylie, K., 203AWyllie, W.L., 191

International Sale ofOld Master Paintings &Works of Art

FREEMAN’S

1808 Chestnut Street

Philadelphia, PA 19103

Telephone: +1 215.563.9275

Fax: +1 215.563.8236

www.freemansauction.com

JEAN-BAPTISTE GARNIER(french fl. circa 1748-1759)ABRICOTS ET PRUNES

Signed with initials “JB.”(cojoined) G.f”

bottom center.

Oil on panel

9 7/8 x 13 1/8 inches (25.1 x 33.3 cm)provenance:Kunsthandel P. De Boer, AmsterdamPrivate Collection, ParisAcquired from the above, 1955Thence by descent in the familyPrivate collection, New York stateliterature:Michel Fare, Le Grand Siecle de la NatureMorte en France, Fribourg, 1974, p. 252 illus.$12,000-18,000 (£7,500-11,250)

LYON & TURNBULL

33 Broughton Place

Edinburgh EH1 3RR

Telephone: +44 (0)131 557 8844

Fax: +44 (0)131 5578668

www.lyonandturnbull.com

Edinburgh: Wednesday, September 28th, 2011

Philadelphia: Friday, October 7th, 2011

Further entries are invited until August 12th, 2011

Contact:David Weiss (Freeman’s)Direct tel: +1 [email protected]

Nick Curnow (Lyon & Turnbull)Tel: +44 (0)131 557 [email protected]

Contemporary Paintings & Works of ArtThursday 25th August, 201133 Broughton Place, Edinburgh

www.lyonandturnbull .com

ERIC HOLT(BRITISH b. 1944)CARNIVAL FANTASYSigned and dated1990-91, oil on canvas


£2,000-3,000

Viewing timesSunday 21st August12 noon to 4pm

Monday 22nd August toTuesday 23rd August10am - 5pm

Morning of SaleBy appointment only

EnquiriesNick CurnowTel: +44 (0)131 557 [email protected]

Further entries are inviteduntil 15th July 2011

184

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.Antiques, Jewellery & Silver and Pictures(Not Fine Sales)17.5%.

All other sales (Fine/Special/Collections)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 rateprevailing 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 1.5% (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 to

retain 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 lotconsigned for sale, a withdrawal fee willapply; this will be charged at 15% of themid estimate with any photographycharges incurred and all subject to VAT atthe 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 reasonablyheld 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 andwarranties, whether relating todescription, condition or quality of lots,express, implied or statutory, are herebyexcluded. This Condition is subject to thenext following Condition concerningdeliberate forgeries and applies save asprovided for in paragraph 6 “information tobuyers”.

(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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Local DeliveriesLocal deliveries can bearranged by A&S Pert Re-movals.Telephone 07876 343520.

Packing and ShippingPlease note that we do notpack or ship items. The fol-lowing suggested carrierswill be able to arrangepacking and shipping;please contact them di-rectly to receive a quote.You may wish to contact analternative courier.

Smaller itemsMailboxes 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, Creek-moorPoole, 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 Friday follow-ing the sale.

Thereafter lots will be re-moved 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 be avail-able at the saleroom on viewdays and day of sale.

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

© Lyon and Turnbull Ltd. 2011. 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 and 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

lyon & turnbull sale no 316 - fine paintings

Documents

offeredfor sale

buyers risk

buyers premium25

potential buyers

bidding number

lot itself5

telephone mustbe

telephone biddingif