scottish paintings & sculpture | 11/12/2014

Thursday, 11th December, 201433 Broughton PlaceEdinburgh EH1 3RR

33 Broughton Place, Edinburgh EH1 3RRTel +44 (0)131 557 8844 Fax +44 (0)131 557 8668

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

Thursday, 11th December, 2014at 6.30pm

Sale Number LT424

ViewingSunday, 7th December 12 noon - 4pmMonday, 8th December 10am - 5pmTuesday, 9th December 10am - 5pmWednesday, 10th December 10am - 5pmThursday, 11th December 10am - 1pm

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George Watson was one ofEdinburgh’s foremost portraitartists of the period and iswidely considered Sir HenryRaeburn’s closest rival. Bornin Berwickshire in 1767, heinitially moved to Edinburghwhere he undertookinstruction from one ofScotland’s leading artists ofthe day, Alexander Nasmyth.Progressing well, he pursuedhis education in London withSir Joshua Reynolds andbefore long he was exhibitingregularly in the RoyalAcademy. Though Watsonultimately settled back inEdinburgh, biographer JamesCaw remarks that his Londontutelage had a residual effecton his style and that he had“caught something ofrichness and breadth fromhis experience withReynolds.”

Likewise, his “solid handling”and “considerableappreciation of character” ledalmost immediately to manyhigh profile commissions,including Benjamin West andthe Dean of Canterbury. Thesitters in the two portraitsoffered here, Captain DanielMacGregor of Glengyle and


his wife Ann Austin, wereprestigious members ofEdinburgh society, she thedaughter of physician DrAdam Austin and he a seacaptain with the East IndiaCompany. They are perhapsbest known, however, as theparents of colourful Regencycharacter Gregor MacGregor– a soldier, adventurer, landprospector and convictedfraudster who helped securethe freedom of Venezuelafrom Spanish rule.

Though Watson wasimmensely successful,historians now consider hiswork to lack the innovation ofRaeburn’s portraiture, beinga more typical, if lessinventive, representation ofthe style of the day.Nonetheless, Watson was afine artist and left anexceedingly important legacyto the Scottish art worldthrough his instrumental rolein the creation of the ScottishAcademy. He was presidentfrom 1820 until his death,whereupon it received itsRoyal Charter, shortly afterbecoming the Royal ScottishAcademy.

1 FG798/1GEORGE WATSON P.S.A.(SCOTTISH 1767-1837)HALF LENGTH PORTRAIT OFCAPTAIN DANIELMACGREGOR IN MILITARYUNIFORMOil on canvas

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

and a companion by the samehand, his wife Ann Austin (2)

Note:Captain MacGregor was the son ofCaptain Gregor MacGregor of theInverardan family. He married Ann,eldest daughter of Dr. Adam Austinin 1786. He died in 1794 aged 42 andhis wife died in 1809.

£3,000-5,000


2 HA990/1ALLAN RAMSAY(SCOTTISH 1713-1784)HALF LENGTH PORTRAIT OFJOHN MURRAY OFPHILIPHAUGHInscribed, oil on canvas

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

£8,000-12,000

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3 HA854/1SIR HENRY RAEBURN R.A.(SCOTTISH 1756-1823)PORTRAIT OF KATHERINEHAMILTON, LADY SUTTIE OFBALGONEOil on canvas

89.5cm x 69cm (35.2in x 27.5in)

Provenance:By descent from the sitter to herson Sir George Grant Suttie(1797-1878)Possibly Edward MallinckrodtWith Colnaghi’sSotheby’s, London 16 May 1990, lot46

Exhibited:Edinburgh, The Raeburn Exhibition1876, no.38 (lent by Sir George GrantSuttie)Previously on loan to St Louis ArtGallery

Literature:Sir W Armstrong, Sir HenryRaeburn, London and New York1901, p.113J.Greig, Sir Henry Raeburn, R.A. HisLife and Works, London 1911, p.61

£15,000-20,000

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Katherine Hamilton marriedSir James Suttie, 4th Baronetof Balgone, in 1792. Thisportrait was probably paintedin the years following theirmarriage, around 1795. Theylater changed their name toGrant-Suttie after Sir Jamesinherited his estate, followingthe death of his aunt, JanetGrant, Countess of Hyndford.The family were associatedwith two homes in East

Lothian; Balgone andPrestongrange. Bothremained in the family untilthe twentieth-century, withBalgone sold to anotherprivate owner whilePrestongrange is now theclubhouse of the RoyalMusselburgh Golf Club.Sir Henry Raeburn focussedthe entirety of his career inScotland, eventually servingas His Majesty's Limner for

Scotland. He was aremarkable portrait painter,able to create truthful andflattering likenesses, asacknowledged by acontemporary, who wrote,Raeburn ‘never fails in givinga likeness at once vivid,unmistakable and pleasing.He paints the truth, and hepaints it with love.’ Unusuallyamongst artists of the time,Raeburn always worked from

life, without preliminarysketches – the resultingstrong light effects and broadbrushstrokes add a dynamismand vivacity to his strikingportraits.


4 HA710/3JANE NASMYTH(SCOTTISH 1788-1867)A HIGHLAND LOCH ATSUNSETInscribed on a label verso, oilon canvas

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

£4,000-6,000

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5§ HA791/5ALFRED DE BREANSKI SNR.(BRITISH 1852-1928)GLENCOESigned, signed and inscribedverso, oil on canvas


and a companion, a pair ‘LochKatrine’ (2)

£4,000-6,000

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6 HA68/1WILLIAM MCTAGGART R.S.A.,R.S.W. (SCOTTISH 1835-1910)MAY MORNINGSigned and dated 1883, oil oncanvas

76cm x 136cm (30in x 53.5in)

Note:This is a portrait of the children ofMajor Urquhart

Exhibited:Royal Scottish Academy, 1884,no.337Dundee Exhibitions, 1884

Literature:James L Caw, William McTaggart1917, p.251

£30,000-50,000

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This impressive paintingdepicts the children ofWilliam Walton Urquhart ofRosebay, Broughty Ferryplaying along a riverbank withthe family dog on a stunningMay morning in 1883. MrUrquhart’s companyUrquhart, Lindsay & Co.made machinery for the juteand textile industry at theBlackness Foundry inDundee. His friend, GeorgeHalley, a fabric mill owner,was well acquainted withWilliam McTaggart having hadseveral members of his family

painted by the artist. Halleyintroduced McTaggart toWilliam Urquhart whocommissioned the painting ofhis children, Sarah (b. 1874),Christina (b. 1871), Muriel (b.1879) and William LindsayUrquhart (b. 1875) (shownfrom left to right). Three ofthe children have removedtheir shoes and socks andare carefully stepping acrossthe riverbed, the dog eagerlyawaits them on the otherside. The little boy iscollecting natural curiositiesand storing them in his hat.

The subject makes acharming family portrait, alivewith the spirit of childhood.

The boy, William Lindsay, isthe grandfather of thepresent owner and thispainting has never left thefamily.


7§ HA710/24ANNIE ROSE LAING(SCOTTISH 1869-1946)A SUNLIT BREAKFAST ROOMSigned, oil on canvas


£5,000-7,000

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8 HA948/1WILLIAM MCTAGGART R.S.A.,R.S.W. (SCOTTISH 1835-1910)THE BONNIE MUIRLANDSigned and dated 1900, oil oncanvas


Literature:Recorded on p.273 of J. L. Caw'sbiography of the artist, 'WilliamMcTaggart: A Biography andAppreciation', pub.JamesMaclehouse and Sons, Glasgow in1917. Catalogued 'No.20, McTaggartEx., Mrs James Lindsay, Edinburgh.'

£40,000-60,000


In The Bonnie Muirland, threechildren appear to have founda bird or field mouse and aretenderly examining thecreature, their facesconveying curiosity,excitement and concern. Theview of the field is likely to befrom the back of McTaggart’shouse in Broomieknowe, theMidlothian village to which hemoved in 1889.

The painting is anexceptionally strong exampleof McTaggart’s gift atcapturing light and colour.The rapid brush strokes anddashes of yellow, blue andpink give the painting a freshfeeling and sense ofmovement - an impression ofthe warm breeze passing.

The painting also expressesMcTaggart’s overwhelminglove of nature. Erringtondescribed this approach tonature: ‘humanity takes itsplace not as somethingsuperior to but part of thenature he seeks topaint...there is no Britishlandscape painter who has amore complete power ofpresenting nature in herrichest and most gloriouseffulgence of brilliantsunlight’. (A. Errington, TheStudio, Volume 47, p.83,1909). The Bonnie Muirland isa fine example of this visionof humanity as part of nature;the children are completely atone with their naturalenvironment.


9 HA791/7LOUIS BOSWORTH HURT(BRITISH 1856-1929)HIGHLAND CATTLE BY THELOCHSIDESigned, oil on canvas


£7,000-10,000

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10§ HA658/7GEORGE HOUSTON R.S.A.,R.S.W., R.I.(SCOTTISH 1869-1947)A HIGHLAND FARMSTEADSigned, oil on canvas

102cm x 157cm (44in x 61.75in)

Provenance:Lyon and Turnbull, Edinburgh,Drambuie Collection 2006, lot. 31

£3,000-5,000

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11 HA766/1KEELEY HALSWELLE R.I.,A.R.S.A.(SCOTTISH 1832-1891)SANTA MARIA DELLASALUTE BY MOONLIGHTSigned and indistinctly dated,oil on canvas

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

£1,000-1,500

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12 HB62/2JOHN MACWHIRTER R.A.,H.R.S.A., R.I., R.E.(SCOTTISH 1839-1911)THE TRYSTOil on canvas

60cm x 96.5cm (23.5in x 38in)

£4,000-6,000

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Gauld has very strongassociations with the city ofGlasgow. Trained at the artschool there, he soon becameassociated with the GlasgowBoys: a movement of maleartists associated with thecity, dissatisfied with theScottish art establishmentand interested in exploringrealism and naturalism inpainting. He even sharedstudio space with fellowGlasgow Boys, WilliamStewart MacGeorge and,later, Harrington Mann. Hislegacy is, appropriately, bestrepresented in Glasgow, withthe Hunterian Art Galleryowning a wide selection of hiswork.

An Old English Mill, CalvesOutside a Byre and Calves bya Water Butt are very typicalexamples, both of Gauld’sstyle and of the key aestheticsand principles of the GlasgowBoys. Dissatisfied with thenarrative subjects and

sentimentality of lateVictorian painting andinspired by artisticdevelopments in France, theymoved outside to depict ruralscenes naturalistically,putting a Glasgow spin onFrench Impressionism. Theattractive light effects andrural subject matter provedextremely popular and waswidely collected; Gauldbecame particularly knownfor his depiction of cows andcalves, standing and loungingin sun-dappled light.

In the late 1880s, many of theGlasgow Boys started movingtowards a more decorativeapproach, inspired by theinflux of Japanese prints inBritain and Whistler’sinnovative approach. Gauldpainted a series of portraits ofyoung women, their facesemerging from a screen oflush green foliage, includingHead of a Girl. These strikingpaintings, with their flattened

composition and decorativenature, are especiallydistinctive and hint at thefurther influence of Pre-Raphaelitism. This decorativestyle, combined with Gauld’sfriendship with CharlesRennie Mackintosh, have ledto suggestions that he can beseen as a precursor, orbridge, to the Art Nouveaumovement.

DAVID GAULD


13 HA823/1DAVID GAULD R.S.A.(SCOTTISH 1865-1936)HEAD OF A GIRLSigned, oil on canvas


Provenance:William Davidson, Windyhill and byfamily descentFine Art Society, London 1992Private Collection

Literature:Kenneth McConkey, EdwardianPortraits, Images in an Age ofOpulence, 1987, pp.115, ill. pp.114

Exhibited:Kirkcudbright Town Hall, TheGlasgow Boys at Kirkcudbright,2011, no.7

£10,000-15,000

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14 HA362/1DAVID GAULD R.S.A. (SCOTTISH 1865-1936)CALVES OUTSIDE A BYRESigned, oil on canvas


£3,000-5,000

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15 HA249/1DAVID GAULD R.S.A.(SCOTTISH 1865-1936)AN OLD ENGLISH MILLSigned, oil on canvas


£3,000-5,000

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16 HB123/5DAVID GAULD R.S.A.(SCOTTISH 1865-1936)CALVES BY A WATER BUTTSigned, oil on canvas


£3,000-5,000

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17§ HA710/20GEORGE HOUSTON R.S.A.,R.S.W., R.I.(SCOTTISH 1869-1947)WINTER VEGETABLESSigned, oil on canvas


£3,000-5,000

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Edinburgh artist RobertGemmell Hutchison is one ofScotland’s most perenniallypopular painters. His workhas a broad appeal, bridgingas it does the Dutch genretradition, the muted paletteand realism of the GlasgowSchool and the airiness ofScottish Impressionism. Assuch, he cannot be groupedwith any one specificmovement, his body of workdistinctively his own, not tosay cannily commercial in itsamalgamation of popularartistic trends.

Dutch art has had a longinfluence over Scottishpainting, notably shaping thework of earlier artists like theFaed family who famouslychampioned the narrativegenre scene. GemmellHutchison took his cue fromthe artists of the later HagueSchool, focusing onnaturalism and atmosphereover rustic charm. Despitethis obvious influence,Hutchison’s work maintains aclear Scottish identity and hisexplorations of childhoodactivities are often givencolloquial titles in Scotsvernacular. Hallowe’en

depicts one such activitytraditionally enjoyed inScotland: bobbing for apples.A group of young childrengather round a tub on therough floor of their cottagewhile a baby, too little toparticipate, watches on froma cushioned wooden chairnearby. As demonstrated herein Lullaby, Hutchison’sdepiction of children ismarkedly affectionate,possibly due to the fact thathe regularly used his ownoffspring or their friends asmodels. Yet, for all thesweetness of his subjectmatter, his technical accuracyand use of a subdued, lowlight saves his work fromover-sentimentality. Largeexamples like Hallowe’en arerelatively rare to market butremain among the artist’sbest work. Encouragedperhaps by the hugecanvases of the NewlynSchool that were regularfixtures of the Royal Academyexhibitions during the late1880s and 90s, Hutchisonoften excelled himself on thisscale. Lullaby is one of fewknown examples whereHutchison employed the more

vivid tonalities of red andblack; the mother’s skirt adecorative pattern of flurriedbrushwork.

As his technique matured andartistic trends on theContinent developed, his stylealso began to adapt to theinfluence of the visionaryScottish painter WillamMcTaggart. His childrenemerged out of theirdarkened cottage interiorsand into the brilliant light ofcoastal Scotland. The brightlight, foaming seas andwindswept grasses allowedfor looser, broader and morevigorous brushwork.Respected critic and historianJames Caw praisedHutchison’s storytelling abilitythrough his “well thoughtout” compositions. Above all,it was his “fresh andindividual” approach to thedepiction of childhood thatwon him his host ofsupporters and position as aregular exhibitor in the RoyalScottish Academy - as well asaccounting for the longevity ofhis popularity.

ROBERT GEMMELL HUTCHISON


18 FA223/9ROBERT GEMMELLHUTCHISON R.B.A., R.O.I.,R.S.A., R.S.W.(SCOTTISH 1860-1936)LULLABYSigned, oil on canvas

63.5cm x 46cm (25in x 18in)

Exhibited:British Association Exhibition 1939

£10,000-15,000

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19 HA791/3ROBERT GEMMELLHUTCHISON R.B.A., R.O.I.,R.S.A., R.S.W.(SCOTTISH 1860-1936)THE TOY BOATSigned, oil on board


£8,000-12,000

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20 HB123/4ROBERT GEMMELLHUTCHISON R.B.A., R.O.I.,R.S.A., R.S.W.(SCOTTISH 1860-1936)SHELL GATHERERSSigned, oil on board

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

£10,000-15,000

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22 HA799/1ROBERT BROUGH R.A.,A.R.S.A.(SCOTTISH 1872-1905)SUCH BURIAL,THEN, THEILLUSTRIOUS HECTORFOUNDOil on canvas

89cm x 183cm (35in x 72in)

Exhibited:Royal Scottish Academy 1893,no.350Burlington Fine Arts Club 1907,no.51Aberdeen Art Gallery, Robert Brough1995, ill.pl.6, pp.10,45

£3,000-5,000

21 HB28/1ROBERT GEMMELLHUTCHISON R.B.A., R.O.I.,R.S.A., R.S.W.(SCOTTISH 1860-1936)HALLOWE’ENSigned, oil on canvas

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

£20,000-30,000

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Had Robert Brough not diedtragically in the Storrs Milltrain disaster at the age ofonly thirty two, his position inthe canon of British arthistory might be decidedlymore prominent. He wasprecociously talented and alsopossessed charm and goodlooks, a combination which bythe time of his death had

facilitated his rapid climb intothe highest artistic circles ofLondon.

As a young man, art wasalready a compulsion whichfilled his every spare momentof time and soon he wasaccepted into the RoyalScottish Academy’s lifeclasses. It is recorded that bythe end of his first year hewas the most accomplishedstudent there, winning TheChalmers Bursary, The StuartPrize for Figure Painting andthe Maclaine-Watters medal.

We need only look at thepainting offered here for saleto understand exactly howskilled an artist Brough was.Such Burial then, TheIllustrious Hector Found waspainted and displayed at theRSA in 1893 when Broughwas just twenty one years old.It is remarkable in its

ambitious scale and the brioof its technique. The figuresof Hector’s wife Andromacheand their children aredepicted naked; their brazierlit forms daringly picked outin virtuoso, minimal licks ofpaint. A chorus-like crowd offigures watches on from theshadows as one blurred,homogenous mass. It wasBrough’s only classicalsubject and is thought to bethe painting which won himthe Maclaine-Watters medal.

Though he had a closefriendship with the country’sleading portrait artist JohnSinger Sargent, andfrequently emulatingSargent’s bravura style in hisown work, Brough was alsoclose to Samuel J. Peploehaving studied alongside himat the RSA and AcademieJulian in Paris in 1894.

Brough spent many months inBrittany, where, like fellowScots Charles Hodge Mackieand John Duncan, he gainedexposure to the Nabis Schoolof artists led by Gaugin. TheirPost-Impressionistictendencies began to filterinto Brough’s work. We canspeculate, therefore, that hisuntimely death cut short whatmay have been an inevitablemove towards Modernism.

Though his life was tragicallyshort and his career wasstunted in its relatively earlystages, Brough was a largeenough talent to hit animpressive stride at anexceptionally young age,leaving behind a small butimportant body of work, theremarkable nature of whichdeserves to figure larger inthe nation’s consciousness.

22 HA799/1ROBERT BROUGH R.A.,A.R.S.A.(SCOTTISH 1872-1905)SUCH BURIAL, THEN, THEILLUSTRIOUS HECTORFOUNDOil on canvas

89cm x 183cm (35in x 72in)

Exhibited:Royal Scottish Academy 1893, no.350Burlington Fine Arts Club 1907, no.51Aberdeen Art Gallery, Robert Brough1995, ill.pl.6, pp.10,45

£3,000-5,000


23§ HB123/8WILLIAM MILLER FRAZERR.S.A. (SCOTTISH 1864-1961)DUCKS ON A RIVER BANKSigned, oil on board


£800-1,200

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24 HB123/7SIR JAMES LAWTONWINGATE R.S.A.(SCOTTISH 1846-1924)FEEDING THE CALVESSigned, oil on canvas

44cm x 49cm (17.25in x 19.25in)

£1,000-1,500


25 HA824/1EDWARD ATKINSON HORNEL(SCOTTISH 1864-1933)THE PAISLEY SHAWLSigned and dated 1924, oil oncanvas

101cm x 76cm (40in x 30in)

£10,000-15,000

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26§ HA710/5JOHN MCGHIE(SCOTTISH 1867-1952)GATHERING WILD FLOWERSSigned, oil on canvas


£3,000-5,000


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27 HB130/1PHOEBE ANNA TRAQUAIR(SCOTTISH 1852-1936)ANGELUS DE SOMMIÉSigned with a monogram andtitled with contemporary labelverso, oil and gilt on board

29cm x 27cm (11.5in x 10.5in)

£2,000-3,000

28§ HA69/1ANCELL STRONACH(SCOTTISH 1901-1981)A VISITATIONSigned and dated 1921, watercolour

48.5cm x 45cm (19in x 17.75in)

£2,000-3,000


Art was less a career for JohnDuncan than a vocation.Dundee born and educated,he began his art training atthe age of eleven and wasreceiving commissions for hisillustrations from his earlyteens. His friendship withPatrick Geddes - therenowned sociologist, botanistand Celtic Revivalist -convinced him of therightness of his chosen pathand the pair worked closelywith one another for much oftheir lives, attempting tofurther Geddes’ educationaldoctrine.

Duncan was reasonably well-travelled, his excursionsabroad always made with theintent of refining his personalartistic style. Having lived as abook illustrator in London forthree years he then spenttime in Paris and Italy beforestudying at the AntwerpSchool of Art in 1890. His

relationship with Geddes alsoled to a three year stint as anart teacher in the ChicagoInstitute, a school whichupheld their progressivevalues. Ultimately, Duncanreturned to Scotland, makinghis permanent home inEdinburgh for the rest of hislife. Young artists, includingEric Robertson and CecileWalton, gravitated towardshim, in admiration of hisdedication to his art practiseand his philosophicalconversation. He also becamea founding member of theGlasgow Arts and CraftsSociety which numbered Fraand Jessie Newbery, GeorgeWalton, Phoebe Traquair andRobert Burns among itsranks.

More than anything, Duncanprized the decorative aboveall other considerations in art.His work is a distinctiveassimilation of key artisticinfluences which combine toform something whollyunique. One can drawsimilarities with the Pre-Raphaelites and FrenchSymbolists but it is more thecase that Duncan’s art takesinspiration from these groupsthan belongs to them. Hiswork has all the imaginationof the Pre-Raphaelites, forexample, but avoids their fey

dreamscapes in favour ofclassicism and mythology.Likewise, though theinfluence of leading SymbolistGustave Moreau is obvious,there is a refinement toDuncan’s work whichdeliberately avoids the latenteroticism and generaldecadence which permeatesthe work of the Frenchschool. If asked to name hissingle biggest influence,Duncan may well have insteadnamed one of theRenaissance Masters – hehugely admired the boldsimplicity of artists like FraAngelico and sought toachieve a similar strength ofmodelling in his own work.This admiration is alsoreflected in his unusualchosen medium from 1910onwards and as seen in theexample offered here for sale:tempera.

In terms of subject matter,Duncan cast his net ofinspiration wide, depicting -as here - figures from Greekmythology, as well as Biblicalscenes and chapters fromArthurian and Celtic legend.The traditional title which hasaccompanied this work isForce and Reason, though theiconography is not typical ofthe goddesses of theseparticular attributes. Duncan

had a rich imagination,however, and claimed toreceive ‘visions’ which wereso strong they bordered onhallucination. These wouldfrequently serve as inspirationand he would torture himselftrying to render themaccurately in reality. Highlytypical of his mature work,the painting has a Byzantine-like flatness and graphiclinearity, its palette consistingof layered tones of grey offsetwith pure colour. Flat plains ofquiet empty space occupyareas of his composition andthe entire cumulative impacton the viewer is one bothhighly decorative andmysteriously ethereal.

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29§ HB130/2JOHN DUNCAN R.S.A., R.S.W.(SCOTTISH 1866-1945)FORCE AND REASONSigned, tempera on paper laiddown on canvas

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

Provenance:The current owner’s grandfatherwas a friend of the artist and kepthim supplied with eggs for makingup the tempera. He receivedpaintings as gifts in return.

£10,000-15,000


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30§ FA223/3PATRICK DOWNIE R.S.W.(SCOTTISH 1871-1945)LOW TIDESigned and dated 1911, oil oncanvas

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

£2,000-3,000

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31 HA990/2GEORGE HENRY R.A., R.S.A.,R.S.W. (SCOTTISH 1858-1943)THE JAPANESE FANSigned, oil on canvas


£4,000-6,000


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32 HA146/74JOSEPH CRAWHALL R.S.W.(SCOTTISH 1861-1913)RUNNING HORSESigned, watercolour

12cm x 18cm (4.75in x 7in)

£500-700

33 HA146/62JOSEPH CRAWHALL R.S.W.(SCOTTISH 1861-1913)HUNTSMAN AND HOUNDSWatercolour

23cm x 27cm (9in x 10.5in)

Provenance:A.C.J. Wall and by descent throughthe family

Exhibited:British Empire Exhibition 1938,no.207

£4,000-6,000


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34 HA72/1SIR JOHN LAVERY R.A.,R.S.A., R.H.A., P.R.P., R.O.I.,L.L.B. (IRISH 1856-1941)KITE BALLOON AND GRANDFLEET IN THE DISTANCE,THE PIERS, FORTH BRIDGESigned, signed, inscribed anddated 1917 verso, oil oncanvas

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

Literature:Kenneth McConkey, Sir John Lavery,1993, p.136, illustrated figure 168Kenneth McConkey, John Lavery: aPainter and His World, 2010, p.136,illustrated figure 160

£18,000-25,000

The drama of this painting isachieved through thecontrasts of scale betweenthe monumental bridge, thesmall figures in theforeground and the ships inthe distance. It is one of aseries of Lavery’s First WorldWar paintings centred on themilitary activities in andaround the Firth of Forth.Most of the series are in theImperial War Museum inLondon.

‘Armed with the necessarypermits from the Chief Naval

Censor, Lavery spentSeptember 1917 painting theports and harbours on theForth, with the Forth RailwayBridge, the statuesqueshapes of the Grand Fleet,and the ever-changing skiesof the east coast as abackdrop. His activitiesattracted the attention oflocal children and the police,who suspected him of being aspy.

From the French windows ofSt Margaret’s House, then theofficial residence of the

Commander-in-Chief, Coastof Scotland, and sited high onthe cliffs of NorthQueensferry, Lavery had afine view of Rosyth NavalBase with battleships atanchor in the Forth. Nearbywas North Queensferry AirStation, which became thesubject of one of his moststriking war pictures.‘(Exhibition Introduction: Warat Sea, Scottish NationalPortrait Gallery, Edinburgh,Dec 2011 - Oct 2012).


35§ HA710/2SIR DAVID YOUNG CAMERONR.A., R.S.A., R.W.S., R.S.W.,R.E. (SCOTTISH 1865-1945)LOCH NELL, ARGYLLSigned, inscribed verso, oil onpanel

20.5cm x 25.5cm (8in x 10in)

£2,000-3,000

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36§ HA825/6SIR DAVID YOUNG CAMERONR.A., R.S.A., R.W.S., R.S.W.,R.E. (SCOTTISH 1865-1945)LOCH INSHSigned, inscribed verso, oil oncanvas

42cm x 52.5cm (16.5in x 22.5in)

£2,000-3,000


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Muirhead Bone escaped whathe felt to be the “mildness” ofthe turn-of-the-centuryScottish art scene by strikingout for London in 1902. By1910 he was alreadyconsidered a success withrepresentation by some ofLondon’s most prestigiousgalleries, his work hangingalongside the likes of Orpen,Sickert, Rodin, Beardsley andBeerbohm. He began takingon “daunting subjects andviewpoints,” consistentlyfavouring the depiction offamous historical buildingsand views; recapturing themamidst the bustling realism ofthe modern day.

Early in his career Bone haddeveloped the theory that tobe a great etcher, an artistmust be temperamentallysuited to the medium. Thefacilities called upon to drawwere, he felt, quite different,and he praised Whistler’smasterful etchings over his“uncertain” drawings. Bonehimself was extremely adeptin both mediums, as theworks offered here for saleattest. Though his prints ranin relatively large numbers ofreproductions, his drawings -

particularly on the large scaleshown in two of the exampleshere - remain fairly scarce.

The drawings he made on hisfrequent travels to Europeand beyond are widelyregarded as the best heproduced. Italy was his firststop, where he admitted tofirst being daunted by thecelebrity of the architecture,feeling that “too many otherartists had licked the platterclean”. He soon found hisvoice however, and the sceneshown here of Venice iscertainly a fresh take on thesubject matter: the lagoon bynight from the deck of a vastcruise liner.

Spain was of particularimportance to Bone and itwas here that he producedsome of his mostextraordinary and criticallyregarded drawings. Visitingfor whole summers between1924 and ‘28, he collaboratedwith his wife Gertrude on atext called ‘Old Spain’ forwhich she provided the proseand he the illustrations. TheRock Tomb of PelayoCovadonga was one of hisfinest studies for the project -

the artist’s imagination clearlystimulated by his wife’srepresentation of Pelayo as akind of Spanish Robert theBruce, fighting to overthrowOttoman rule.

A trip to New York for threemonths in 1923 was alsofruitful, and Bone’s sketchesof the towering skyline andteeming street life ofManhattan have a palpablevivacity that demonstrates anenergised engagement withhis subject. Each time, thesketches were sent home andexhibited. The reviews rolledin with the critic for TheMorning Post remarking that,“…thought stops. One merelystands in front of (his)drawings with dumbamazement”. It must surelybe agreed that today hissketches have lost little oftheir effect on the viewer.

SIR MUIRHEAD BONE


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37§ HA146/2ASIR MUIRHEAD BONEH.R.S.A., H.R.W.S.,H.A.R.I.B.A., H.R.E., L.L.B.,D.LITT.(SCOTTISH 1876-1953)MIDNIGHT IN VENICEColoured chalks

52cm x 32cm (20.5in x 12.5in)

Exhibited:XVII Biennial International ArtExhibition, Venice, 1932

£2,000-3,000



38§ HA146/19ASIR MUIRHEAD BONE H.R.S.A.,H.R.W.S., H.A.R.I.B.A., H.R.E.,L.L.B., D.LITT.(SCOTTISH 1876-1953)GALATA BRIDGE,CONSTANTINOPLESigned, inscribed and dated1922, pen and ink and wash

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

£1,500-2,000

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39§ HA146/60SIR MUIRHEAD BONE H.R.S.A.,H.R.W.S., H.A.R.I.B.A., H.R.E.,L.L.B., D.LITT.(SCOTTISH 1876-1953)MANHATTAN NIGHTSigned and inscribed ‘New York’,charcoal

20.5cm x 25.5cm (8in x 10in)

£600-800


40§ HA146/3ASIR MUIRHEAD BONEH.R.S.A., H.R.W.S.,H.A.R.I.B.A., H.R.E., L.L.B.,D.LITT.(SCOTTISH 1876-1953)KING PELAYO’S TOMB,COVADONGAColoured chalk

79cm x 54cm (31in x 21.25in)

£500-800

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41§ HA365/1SIR MUIRHEAD BONEH.R.S.A., H.R.W.S.,H.A.R.I.B.A., H.R.E., L.L.B.,D.LITT.(SCOTTISH 1876-1953)SELF PORTRAITOil on canvas


Note:The painting bears a T & R Annanand Sons Ltd label verso identifyingthe artist and sitter.

Literature:For comparison see the photo ofBone by Annan, Sylvester Bone,Muirhead Bone - Artist and Patron2009, p.58

£1,000-1,500

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42§ HA146/49SIR MUIRHEAD BONEH.R.S.A., H.R.W.S.,H.A.R.I.B.A., H.R.E., L.L.B.,D.LITT.(SCOTTISH 1876-1953)AILSA CRAIGSigned, oil on canvas


£800-1,200


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43§ FG412/9JOHN MAXWELL R.S.A.(SCOTTISH 1905-1962)PORTRAIT OF DOROTHYPEACHOil on canvas


Exhibited:Scottish National Gallery of ModernArt, Maxwell Memorial 1963, no.82Scottish National Gallery of ModernArt, John Maxwell 1999, no.47

£3,000-5,000


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47


44 HB87/1JOHN SMART R.S.A., R.S.W.,R.B.A. (SCOTTISH 1838-1899)ALTON LINKS, ABERDEENInscribed, watercolour

43cm x 70cm (17in x 27.5in)

£30,000-50,000

2014 was a big year for golf inScotland with Gleneagleshosting the Ryder Cup, whilethe Scottish Open played outat the Royal Aberdeen GolfCourse.

The course and club at RoyalAberdeen has a vibrant andinteresting history. Thegeographical origins of thegame of golf are hotlycontested, and Aberdeenstakes its claim with theevidence that the earliestrecorded mention of a golfhole, circa. 1625, was theQueen’s Hole on the Links ofAberdeen. The currentlocation of the club, andscene of the 2014 ScottishOpen, was established in 1888but the club itself has existedsince 1780, making it one ofthe oldest golf clubs in theworld. From 1780-1815, it wasknown as The Society ofGolfers at Aberdeen and heldsome quirky traditions:electing members by ballot,sporting a uniform of ascarlet jacket with goldbuttons and implementing afive minute time limit onsearching for golf balls.

John Smart painted thisscene, Alton Links, Aberdeen,as part of the series of workshe remains best known for,The Golf Greens of Scotland.This was a series of 20watercolour paintings ofdifferent Scottish golf coursespainted in the 1880s and1890s, which in 1893 wasturned into a publication witheach scene engraved byGeorge Aikman. The offeredpainting depicts an importantand historic moment in thehistory and development ofthis important club, capturingthe club on the cusp of itsmove to the new premises atBalgownie in 1888. Thereason for the move, othersports ruining the grass:‘considering the way that thelinks was being cut up bycricket and football players, aprivate course at Balgownieshould be procured for golfingpurposes’.

Smart was born in Leith, theson of an engraver. Originallyintending to train as anengraver, after demonstratingan aptitude for landscapepainting, he was offered the

opportunity to begin studyingunder Horatio McCulloch. Asan artist, he was committedto watercolour as a medium,and was a founding memberof Royal Scottish Society ofThe Painters in Watercolourand elected to the RoyalScottish Academy in 1877.Passionate about landscapepainting and sport, paintinggolf scenes allowed him tocombine both of theseinterests. The critic JamesCaw described the effect ofSmart’s art, as follows, “theyare simple and effective indesign, vivid in effect andpowerful in execution, andbreathe an ardent passion forthe landscape of his nativeland.”


45§ HA710/25JAMES MCINTOSH PATRICKR.S.A., R.O.I., A.R.E., L.L.D.(SCOTTISH 1907-1998)ANGUS BY THE ROADSigned, oil on canvas


£4,000-6,000

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46 HA775/1JAMES KAY R.S.A., R.S.W.(SCOTTISH 1858-1942)BYWAY, BELGIUMSigned, oil on board


£3,000-5,000


47§ HB123/2JAMES MCINTOSH PATRICKR.S.A., R.O.I., A.R.E., L.L.D.(SCOTTISH 1907-1998)THE TAY ESTUARY FROMBELOW DRON, THE TAYBRIDGE IN THE DISTANCESigned, oil on canvas


£4,000-6,000

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48 HB123/6WILLIAM CROZIER A.R.S.A.(SCOTTISH 1897-1930)THE HIGH ROADSigned, oil on board


£1,500-2,000

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49§ HA415/1SIR WILLIAM MACTAGGARTP.R.S.A., R.A., F.R.S.E.,R.S.W.(SCOTTISH 1903-1981)HARVESTSigned, inscribed on a labelverso, oil on board

16cm x 36cm (6.25in x 14in)

Exhibited:Aitken Dott & Son, ChristmasExhibtion 1968, no.47

£2,500-3,500


50§ HB123/3JOHN MACLAUCHLAN MILNER.S.A. (SCOTTISH 1886-1957)RED ROOFS, PROVENCESigned, oil on canvas


£10,000-15,000

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Following the tradition of theScottish Colourists,Maclauchlan Milne movedsouth from Paris in the early1920s. A Dundee newspaper

reported: ‘It is difficultkeeping pace with MrMaclauchlan Milne. A yearago he was painting Scottishfields with the soft sunlightand mellow atmosphere. ThenParis seized him, and he gaveus canvases splashed withvivid colour, radiating gaietyand the joy of life. Now he hasdrunk “a beaker full of thewarm South” and has broughtback from the azure shore

pictures that palpitate withhot sunlight and dazzle withtheir audacious colour.’

In this painting, thewhitewashed houses with redterracotta roofs, the umbrellapine trees and limestonemountain in the distance allstrongly recall the warm,bright landscape of Provence.Like so many artists in theearly twentieth century, Milne

was heavily influenced byPaul Cézanne. Throughknowledge of Cézanne’spainting, he began to paintlarge scale Provençallandscapes with a depth andstrength which gave hispaintings a new solidity and asense of volume and space.One can almost feel the heat,hear the cicadas and smellthe pine needles.


51§ HB81/1SIR WILLIAM GEORGEGILLIES C.B.E., L.L.D., R.S.A.,P.R.S.W., R.A.(SCOTTISH 1898-1973)BORDER LANDSCAPEWINTERSigned, oil on canvas


£4,000-6,000

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William Gillies had the gift ofbeing equally talented at bothoil and watercolour painting,while his oeuvre was dividedbetween still lifes andlandscapes. This saleincludes examples of bothsubjects in both mediums aswell as the artist’s ownpalette and painting case.

Gillies was well versed in thetrends of Europeanmodernism. In 1924 he wasawarded a travellingscholarship enabling theyoung artist to study for oneyear in Paris with the Cubistpainter André Lhote. Gillies’s

own experiments with Cubismdid not last long but he kept aclose eye on hiscontemporaries on theContinent. In Still Life Redand Grey, the compositionand the flattened perspective,with a complete lack ofshadows or highlights, show adebt to Henri Matisse‘s studiointeriors, while the grey tonesof the palette and thepainterly technique recallsGeorge Braque’s still lifepainting.

As one of the most importantpainting tutors at theEdinburgh College of Art

during the twentieth century,it was essential that Gilliesmaintained his knowledge ofthe work being producedabroad. Furthermore, Gillieswas able to respond to thisart in his own work whilstmaintaining his distinctlyrecognisable style. Majorexhibitions in Edinburgh ofthe works of Edvard Munch in1931 and Paul Klee in 1934opened up to Gillies a freshmeans of exploring landscapepainting. His landscapes ofthe Lothians and Borders arewonderfully expressive incolour and brushwork.

Gillies remains one ofScotland’s most importantartists, not only for hisextraordinary output and hisinvolvement with hiscontemporaries, such asAnne Redpath and WilliamMacTaggart, but also for thelegacy of his inspiringteaching at Edinburgh Collegeof Art.

SIR WILLIAM GEORGE GILLIES


52§ FG412/1SIR WILLIAM GEORGEGILLIES C.B.E., L.L.D., R.S.A.,P.R.S.W., R.A.(SCOTTISH 1898-1973)STILL LIFE RED AND GREYSigned, oil on canvas

91cm x 138cm (36in x 54.25in)

Exhibited:Scottish Arts Council, William GilliesRetrospective 1959 (lent by theartist)Royal Scottish Academy 1959,no.170John Moores Liverpool Exhibition1969

£8,000-12,000

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53§ HA989/2SIR WILLIAM GEORGEGILLIES C.B.E., L.L.D., R.S.A.,R.S.W., R.A.(SCOTTISH 1898-1973)BORDERS LANDSCAPESigned and dated ‘38,watercolour


Provenance:A gift from Gillies to the currentvendor’s family from whom herented his house in Temple

£4,000-6,000

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54THE PALETTE ANDTRAVELLING PAINTING CASEFORMERLY BELONGING TOSIR WILLIAM GEORGEGILLIES

Provenance:The palette was the 1981 LandscapePrize at Edinburgh College of Artand won by the present vendor

£500-800


55§ HB93/1SIR WILLIAM GEORGEGILLIES C.B.E., L.L.D., R.S.A.,P.R.S.W., R.A.(SCOTTISH 1898-1973)THE PONDSigned, oil on canvas

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

Exhibited:Aitken Dott & Son Ltd, Edinburgh,Festival Exhibition 1952, no.20

£5,000-8,000

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56 HA67/1FRANCIS CAMPBELLBOILEAU CADELL R.S.A.,R.S.W. (SCOTTISH 1883-1937)IONA, JUNESigned, signed and inscribedverso, oil on panel

37cm x 45cm (14.5in x 17.75in)

Note:This is a view looking towards LochNa Keal, the beach at EileanAnnraidh to the left

£30,000-50,000


This sublime example ofCadell’s extraordinary gift forcolour also demonstrates hisability to make a painting lookentirely unlaboured. With afew dashes of the brush, hecaptures blades of grass,rocks emerging from sand,shimmering water andshifting clouds overhead. Thepalette is deliberately limited,largely composed of ceruleanblue, turquoise, violet andshades of white. The overalleffect is of a light summerday, refreshed with the seabreeze, but perhaps able toturn overcast at any moment.

Iona, June is painted from theWhite Strand at the north endof Iona, looking northeasttowards Loch na Keal, Ulvaand Mull. In the middledistance, the eastern edge ofthe islet of Eilean Annraidh(stormy island) adds adramatic contrast of darkrocks in the largely lightcomposition.

Cadell primed his boards withan absorbent gesso, whichallowed him to achieve thechalky finish we see here. Thedry paint surface perfectlycaptures the rocks and sandof the Iona landscape.


57 HB123/1FRANCIS CAMPBELLBOILEAU CADELL R.S.A.,R.S.W. (SCOTTISH 1883-1937)CROFTS, IONASigned, oil on board

37cm x 44.5cm (14.5in x 17.5in)

£30,000-50,000

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Painted from beside the roadrunning north from IonaAbbey, this painting showsthe whitewashed cottages onthe Cuil Phail croft. Lookingeast, in the middle distanceare the rocks and hills ofRoss of Mull and beyond isthe mountain of Ben Buie.Cadell was fascinated by thenatural environment on Iona.

He was also very interested inthe Iona community and oftenpainted the abbey, the crofts,the farmers in the fieldsherding cows or workingcrops.

Bunty, as Cadell wasfamiliarly known, was verymuch part of the Ionacommunity. He visited theisland almost every summer

from 1912, renting the samecroft house (which he re-arranged on each visit to suithis impeccable taste). WherePeploe focused on the viewsfrom the north, Cadell wouldbe seen exploring the entireisland, smoking his pipe,wearing his Campbell kilt andchequered tweed jacket.


59 HB85/1FRANCIS CAMPBELLBOILEAU CADELL R.S.A.,R.S.W. (SCOTTISH 1883-1937)CORNSTOOKS ANDCOTTAGES, IONASigned, watercolour

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

£6,000-8,000

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58 HB85/2FRANCIS CAMPBELLBOILEAU CADELL R.S.A.,R.S.W. (SCOTTISH 1883-1937)RHUM FROM THE NORTHEND, IONASigned, inscribed and dated‘to G.W. Service - Sept. 1926’,watercolour

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

£5,000-7,000


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60 HA993/1SAMUEL JOHN PEPLOER.S.A. (SCOTTISH 1873-1935)GREY DAY, IONASigned, oil on canvas, alsopainted verso with a study ofPeploe’s sons with a cricketbat


Note:The painting depicts a view of EileanAnnraidh with Treshnish Point in thedistance

£40,000-60,000

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Cadell introduced Peploe toIona in 1920 and the olderartist was immediatelycaptured by the island’scharms, returning on manyoccasions. Peploe paintedentirely from the north of theisland where the sand androcks were particularlydramatic and offered stunningviews of surrounding islandsand distant headland. Even asmall shift of viewpointopened up a whole new vista,and both Peploe and Cadellwere able to paint from thesame position many timeswithout repeating themselvesor each other.

Grey Day, Iona is taken fromthe northernmost tip of theIsland at Cows Rock, lookingover the Strait of Storm. Thebrown rocks in the middledistance are the eastern edgeof Eilean Annraidh and on the

horizon is the outline ofTreshnish Point andnorthwest Mull. A similarcomposition, Iona, Grey Dayis held at Aberdeen ArtGallery & Museum.

Where Cadell’s paintings ofIona have the feeling of atransient moment, Peploe’sare far more solid andsteadfast. Looking at GreyDay, Iona, one is remindedthat the landscape on Ionahas hardly changed forthousands of years. Peploeemphasises the volume ofthe rocks, their weight andpermanence and pays tributeto the unspoilt splendour ofthe Hebrides.

The study painted on the verso of Grey Day, Iona.


61§ HA997/1ANNE REDPATH O.B.E.,R.S.A., A.R.A., L.L.D., R.O.I.,R.B.A. (SCOTTISH 1895-1965)A BORDER LANDSCAPESigned, gouache

39.5cm x 48cm (15.5in x 18.75in)

£3,000-5,000

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62§ HA70/1ANNE REDPATH O.B.E.,R.S.A., A.R.A., L.L.D., R.O.I.,R.B.A. (SCOTTISH 1895-1965)A BORDERS LANDSCAPESigned, watercolour

42cm x 51cm (16.5in x 20in)

£4,000-6,000


63§ HB21/1ANNE REDPATH O.B.E.,R.S.A., A.R.A., L.L.D., R.O.I.,R.B.A. (SCOTTISH 1895-1965)VICTORIAN CORNERSigned, watercolour


£4,000-6,000

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64§ HB39/JAMES MICHIE (SCOTTISH 1891-1969)FRENCH STREET SCENESigned, oil on board

45.5cm x 58cm (18in x 23in)

£2,000-3,000

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65§ HB43/1WILHELMINABARNES-GRAHAM(SCOTTISH 1912-2004)ST. ANDREWS BAY SERIES(14)Signed, signed inscribed anddated 1981 on the backboard,mixed media

13.3cm x 19cm (5.25in x 7.5in)

£1,500-2,000


66§ FF243/1JOHN DUNCAN FERGUSSONR.B.A. (SCOTTISH 1874-1961)WOMAN IN A HAT LOOKINGDOWNConté

21cm x 12.5cm (8.25in x 5in)

£2,000-3,000

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67§ FF243/2JOHN DUNCAN FERGUSSONR.B.A. (SCOTTISH 1874-1961)WOMAN IN A HATConté

21cm x 12.5cm (8.25in x 5in)

£2,000-3,000


68§ HA968/1JOHN DUNCAN FERGUSSONR.B.A. (SCOTTISH 1874-1961)CASSIS FROM THE EASTSigned and dated 1931 verso,oil on canvas


Provenance:Lefevre Gallery, LondonPrivate Collection

Exhibited:Lefevre Gallery, London 1932McClellan Galleries, J.D.Fergusson,First Retrospective Exhibition,Glasgow, 1948, no.34Saltire House, Edinburgh Festival,Edinburgh 1952Hazlitt Gallery, An Exhibition ofPaintings Past and Present by J.D.Fergusson, London 1952, no.23Fine Art Society, Art in Scotland1800-1920, London and Edinburgh1980The Scottish Gallery, La VieBoheme, Edinburgh 2013, no.72

£60,000-80,000

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J.D. Fergusson first visitedCassis in 1913 with S.J.Peploe. That year both artistsproduced a number ofpaintings and drawings of thepicturesque harbour town.The First World Warinterrupted travel in Francefor all four of the ScottishColourists and from 1914-1928 Fergusson was based inLondon. In 1929 he movedback to Paris and from therehe made excursions to Dinardin Brittany and to the South ofFrance. Between 1930 and1931 Fergusson painted someof his most successful post-war subjects. The period sawa perfect synthesis ofCézanne-inspiredImpressionism and elementsof Cubism. In Dinard, theclear, sharp light and palecolours of the town gave riseto a new, more subtle, and yetutterly vibrant vision and inCassis from the East, we seethe same energy and delicatepalette.

The sun-baked town ofCassis, with the church bell

tower at the centre, radiatesheat. There is a sense ofmovement in the palm frondsand the painting shimmerswith light. Although the Coted’Azur had become a culturalcentre for writers and artistsduring the 1920s, the townsalong the coast were stillunspoilt and for Fergusson inparticular, the naturalenvironment of the hills, treesand sea were essential to hisvision of ‘Rhythm’ in life andart.

In 1931 the French stateacquired Fergusson’s LaDéesse de la Rivière fromGalerie Georges Petit’s groupexhibition, Les PeintresEcossais which featuredworks by all four of theScottish Colourists. Theacquisition for the FrenchNational Collection was asignificant act of recognitionand reflected the strength ofthe work Fergusson wasproducing at this time.


67



69§ HA341/1JOHN DUNCAN FERGUSSONR.B.A. (SCOTTISH 1874-1961)HEAD OF A GIRLSigned with initials and dated‘57, oil on board

24.5cm x 29.5cm (9.5in x 11.75in)

£6,000-8,000

68



70§ HA417/1SIR ROBIN PHILIPSON R.A.,P.R.S.A., F.R.S.A., R.S.W.,R.G.I., D.LITT., L.L.D.(SCOTTISH 1916-1992)TIME PASSEDWatercolour

63.5cm x 98cm (25in x 38.5in)

Provenance:Bruton Gallery, SomersetEverard Reed Gallery, Johannesburg

£2,000-4,000

69


71§ HA796/2DAVID MCCLURE R.S.A.,R.S.W., R.G.I.(SCOTTISH 1926-1998)HORSE, CART ANDBUILDINGS, FLORENCE, c. 1956gouache and charcoal onpaper

45cm x 57cm (17.5in x 22.5in)

£1,000-1,500


70



72 HB56/1GEORGE LESLIE HUNTER(SCOTTISH 1877-1931)A STILL LIFE WITH FRUITAND FLOWERS ON A WHITECLOTHSigned, oil on board


£40,000-60,000

71


‘Everyone must choose hisown way, and mine will bethe way of colour’

Hunter lived an erratic life,plagued by tragedy andstruggle. He battled withphysical and mental illnessthroughout his life and, in avery bittersweet set ofcircumstances, died relativelyyoung, just as he felt hiscareer was taking off,following the purchase of oneof his paintings by the FrenchState for their nationalcollection. When informed ofthe sale, he reportedlyclaimed ‘I have been kickingat the door so long, and atlast it is beginning to open.’Yet despite all of thesesetbacks his paintingsremained full of joy, life and,most importantly, colour.

Though, like Fergusson,Hunter was self-taught, hiswork as a freelanceillustrator in the Statesfunded a trip to Paris around1905, and he returned

permanently to Scotlandfollowing the destruction ofwhat is thought to be virtuallyall of his paintings andpossessions in the SanFrancisco Earthquake of1906. After a financiallydifficult few years, he came tothe attention of the art dealerAlexander Reid, whoorganised his first soloexhibition in Glasgow in 1913.This was the beginning of asuccessful partnership withReid and an ongoing series ofexhibitions. The economicfreedom Reid’s support andcontacts provided allowedHunter to travel extensivelybetween London, Scotlandand France, for the rest of hislife.

In the early stages of hiscareer, until the end of WW1,while the other threeColourists were regularly inParis and creating some oftheir most innovativepictures, Hunter remainedfocussed on the work ofseventeenth century DutchMasters, as well as thepaintings of Chardin andManet. He was committed topainting still life compositionsof flowers, fruit andglassware against darkbackgrounds and, during hisearly visits to Paris, viewedPost-impressionist paintingby artists such as Cezanne,Picasso and Matisse withhorror.

After the war, however,Hunter developed a deeperunderstanding of Cezanne’s

radical approach to paintingand began exploring thesame principles in his ownwork, moving away fromnaturalistic depictions andusing different approaches todemonstrate the ‘weight’ ofan object. From 1919, heexperimented with his stilllife paintings, creatingbalanced compositions withtextural surfaces, and palebackground colourshighlighting the vibrancy andfreshness of the fruit.Despite using cool coloursalongside contrasting boldshades, he masterfullybalances them into acoherent, harmoniousartwork. Specific items, suchas a distinctive black vasefrom Still Life, appearrepeatedly in these paintings.By 1923-25, in paintings suchas A Still Life with Fruit andFlowers on a White Cloth, hewas experimenting withdifferent compositions,focussing on a darkerbackground, with distinctivelypatterned curtains and apanelled door adding interestand texture to the backdropand allowing him to createpattern across the entiresurface of the painting. Thisallowed him to combine hisdevelopments inspired byCezanne’s view of form withthe flattened, designprinciples demonstrated byMatisse into his own visionand style of still life painting.

Hunter was never satisfiedwith a particular style or

approach for long and wasalways looking ahead,claiming ‘I cannot go back. Itis impossible for an artist toretrace his steps. He must goforward.’ So he continued todevelop his style, writing toReid in 1928, ‘I am working ina thin fashion.’ This was acompletely new approach forHunter, which he developedfollowing a period of workingmostly on drawings. He usedthis thinned paint technique,with areas of exposed canvas,to create expressive still lifeand landscape compositions,including Still Life of MixedFlowers. For the most part,Hunter’s experiments increating his own style andapproach from the principlesof European Post-Impressionist art wereextremely successful creatinglively, vibrant paintings.However, he did sometimesstruggle to finish works andto negotiate a successfulcomposition. This was nothelped by recurring healthproblems and his unfortunatehabit of attempting to‘improve’ paintings after anight on the town.

During this period ofcommitted artisticdevelopment in the 1920s,Hunter also exhibited for thefirst time with the artists nowknown as the ScottishColourists, Peploe, Cadelland Fergusson: in Paris in1924, London in 1925 andfinally in 1931, again in Paris.

GEORGE LESLIE HUNTER


72



73

73 FG412/14GEORGE LESLIE HUNTER(SCOTTISH 1877-1931)STILL LIFESigned, oil on board


Provenance:Thomas Agnew & Sons, Londonno.35507Alexander Reid

Exhibited:Carnegie Institute, Pittsburgh, U.S.A.Aitken Dott & Son, Edinburgh,Recent Acquisitions, 1977, no.77

£50,000-70,000


74* HA71/1GEORGE LESLIE HUNTER(SCOTTISH 1877-1931)STILL LIFE OF MIXEDFLOWERSSigned, oil on canvas


£20,000-30,000


75 HB48/3GEORGE LESLIE HUNTER(SCOTTISH 1877-1931)A GARDEN PARTYSigned, watercolour,heightened with white

37cm x 50cm (14.5in x 19.75in)

Provenance:Chrisitie’s, Glasgow, 11 December1986, lot 248

Literature:The Society Pictorial, July 11, 1903,Illustrated p.384Hunter Revisited, Bill Smith and JillMarriner 2012, Illustrated p.33,no.14

£10,000-15,000

74


The publication of drawingssuch as this in the SocietyPictorial, a Glasgow weeklymagazine, are evidence thatby 1903 Hunter was spendingtime in Scotland with hisfamily before extended trips tothe Continent to explore theart scene of Paris. A GardenParty, a fully worked updrawing in ink, watercolourand bodycolour, is believed tobe the only surviving drawing

from the whole series he didfor the Society Pictorial fromApril 1903 to December 1904.Charming and rare, thiscomposition demonstratesthe skilled draughtsmanshipin the depiction of a crowd,and individuals, by a ScottishColourist now rememberedfor his still life paintings.


76 HB46/1GEORGE LESLIE HUNTER(SCOTTISH 1877-1931)RECLINING NUDESigned, pen and ink andcoloured chalks

16cm x 32cm (6in x 12.5in)

£2,000-3,000

75


77§ HA770/4ROBERT COLQUHOUN(SCOTTISH 1914-1962)HOUSE FRONT MARSEILLES1938Inscribed beneath mount, penand ink and sepia wash

19.5cm x 24cm (7.75in x 9.5in)

£2,000-3,000


78§ SV388/14JOAN EARDLEY R.S.A.(SCOTTISH 1921-1963)LANDSCAPE WITH CATTLESigned, pen and ink andpastel

8cm x 23cm (3.25in x 9.75in)

£2,000-3,000

76


79§ HB39/1JOAN EARDLEY R.S.A.(SCOTTISH 1921-1963)THE PLOUGHPastel on buff-coloured paper

53cm x 65cm (20.75in x 26in)

£4,000-6,000


80§ HB62/1JOAN EARDLEY R.S.A.(SCOTTISH 1921-1963)CATTERLINE LANDSCAPEOil on board, irregular

11cm x 21.5cm (4.25in x 8.5in)

Provenance:The work was painted by JoanEardley as a gift for the currentowner's birth in August 1963, thesame month Eardley died. Oscar andAnne Marzaroli (the owner’sparents) visited Joan, staying withher in Catterline, Oscarphotographing her and Angus Neilat work. This work is one of severalpaintings gifted by Joan to thefamily.

£6,000-8,000

77



81§ HA693/5VICTORIA CROWE O.B.E.,D.H.C., F.R.S.E., M.A., R.S.A.,R.S.W. (SCOTTISH b. 1945)SNOWBANK, SUN ANDSHADOWSSigned and dated ‘79, oil onboard

76cm x 54.5cm (30in x 21.5in)

Exhibited:Thackeray Gallery, London 1980

£3,000-5,000

78



82§ HA782/1SIR ROBIN PHILIPSON R.A.,P.R.S.A., R.S.W., R.G.I.,D.LITT., L.L.D.(SCOTTISH 1916-1992)CATHEDRAL INTERIOROil on canvas


Note:The painting was commissioned bythe current owners in the mid 1980s

£6,000-8,000

79



83§ HB97/1ALAN DAVIE R.A.(SCOTTISH 1920-2014)FOR A LITTLE SCRIBE NO.1Signed, inscribed and datedDec ‘68 verso, oil on panel

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

£4,000-6,000

80



84§ HB45/1STEVEN CAMPBELL(SCOTTISH 1953-2007)OUTSIDE RIGHTOil on canvas laid on board

94cm x 106cm (37in x 41.75in)

Exhibition:Steven Campbell, outside right atthe sunset gate. William HardieGallery, Glasgow, 1994.

£3,000-5,000

81



85§ HB48/2WILLIAM BURNS R.S.A.,R.S.W., R.I.(SCOTTISH 1921-1972)SEA HOUSE 6Oil on board

76cm x 101cm (30in x 40in)

£3,000-5,000

82



86§ JOHN BYRNE R.S.A.(SCOTTISH b. 1940)NIGHT GARDENSigned ‘Patrick’, oil on canvas


£4,000-6,000

83



87§ EDOUARDO PAOLOZZI R.A.,H.R.S.A. (SCOTTISH 1924-2005)BEETLEBronze

9cm (3.5in) long

£2,000-3,000

84


88§ GERALD LAING (BRITISH 1936-2011)PRINTSigned, inscribed, dated andnumbered 'London 1965'22/46, painted stainless steel

42.5cm (16.75in) long

£1,500-2,000

Born in Newcastle in 1936,Gerald Laing had beenschooled at Sandringham andwas destined for a militarylife. It was not until the 1950sthat he began, with total focusand vigour, to devote himselfto his previously suppressedartistic abilities. He enrolledat Central Saint Martin’sCollege of Art, developing thegraphic Pop Art style for

which he would be famedthroughout the 1960s. Upongraduating in 1964, Laingmoved to New York where heenjoyed a decade as acelebrated and widelyexhibited member of theManhattan art scene.

His move towards sculpturecommenced in 1965,continuing apace upon hispurchase and renovation of

Kinkell Castle in Ross andCromarty, Scotland. Beforelong he had mastered the artof bronze casting anddeveloped his own foundry onthe estate, initially sculptingin an abstract manner, as inthe example offered here,before ultimately moving awayfrom his Pop Art rootstowards figuration.


85


89§ HB91/1STEVEN CONROY(SCOTTISH b. 1964)THE ARCHITECTSigned, inscribed and dated1997, oil on board


£5,000-7,000

END OF SALE


Fine Furniture & Works of ArtWednesday, 14th January, 201533 Broughton Place, Edinburgh

ENQUIRIESDouglas GirtonTel: +44 (0)131 557 8844 [email protected]

Theodora BurrellTel: +44 (0)131 557 8844 [email protected]

www.lyonandturnbull .com

HENRY BONE R.A. (BRITISH 1755-1834)ELIZABETH CAREY, DAUGHTER OF LORD

HUNSDON, AFTERWARDS LADY BERKELEYenamel on copper

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

Provenance:George John Danvers Butler, later Lord

Lanesborough of Swithland Hall, Leicestershire

£4,000-6,000

HENRY BONE R.A. (BRITISH 1755-1834)ROBERT DUDLEY, EARL OF LEICESTERenamel on copper, signed

20.5cm x 17cm (8in x 6.75in)

Provenance:George John Danvers Butler, later Lord Lanesborough ofSwithland Hall, Leicestershire

£5,000-7,000


87

The following expressions withtheir accompanyingexplanations are used by Lyon &Turnbull as standardcataloguing practice. Our use ofthese expressions does not takeaccount of the condition of thelot or the extent of anyrestoration.

Buyers are recommended toinspect the propertythemselves. Written conditionreports are usually available onrequest.

Name(s) or RecognisedDesignation of an Artist withoutany Qualification In our opinion a work by theartist

Attributed to...In our opinion probably a workby the artist in whole or in part.

Studio of ... / Workshop of ...In our opinion a work executedin the studio or workshop of theartist, possible under hissupervision

Circle of ...In our opinion a work of theperiod of the artist and showinghis influence.

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

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

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

Signed ... /Dated ... /Inscribed ... /In our opinion the work hasbeen signed/dated/inscribed bythe artist.

BearsSignature ... /Date ... /Inscription ... /In our opinion thesignature/date/inscriptionappears to be by a hand otherthan that of the artist.

Dimensions are given heightbefore width.

Barnes-Graham, W., 65Bone, M., 37-42Brough, R., 22Burns, W., 85Byrne, J, 86

Cadell, F.C.B., 56-59Cameron, Sir D.Y., 35, 36Campbell, S., 84Colquhoun, R., 77Conroy, S., 89Crawhall, J., 32, 33Crowe, V., 81Crozier, W., 48

Davie, A., 83de Breanski, A. Snr., 5Downie, P., 30Duncan, J., 29

Eardley, J., 78, 79, 80

Traquair, P.A., 27Watson, G., 1Wingate, Sir J.L., 24

Macwhirter, J., 12Maxwell, J., 43McClure, D., 71McGhie, J., 26McTaggart, W., 6, 8Michie, J., 64Milne, J.M., 50

Nasmyth, J., 4

Paolozzi, E., 87Patrick, J.M., 45, 47Peploe, S.J., 60Philipson, Sir R., 70, 82

Raeburn, Sir H., 3Ramsay, A., 2Redpath, A., 61, 62, 63

Smart, J., 44Stronach, A., 28

Fergusson, J.D., 66-69Frazer, W.M., 23

Gauld, D., 13-16Gillies, Sir W.G., 51-55

Halswell, K., 11Henry, G., 31Hornel, E.A., 25Houston, G., 10, 17Hunter, G.L., 72-76Hurt, L.B., 9Hutchison, R.G., 18-21

Kay, J., 46

Laing, A.R., 7Laing, G., 88Lavery, Sir J., 34

Mactaggart, Sir W., 49

Index

Glossary of Terms


Books, Manuscripts, Maps & PhotographsWednesday, 28th January, 201533 Broughton Place, Edinburgh

The Golden Age of IllustrationA fine collection of limited edition

works illustrated by Arthur

Rackham, Edmund Dulac and

Kay Nielsen from The Estate of

the late Lady Mary Stewart

VIEWING

Sunday, 25th January 12 noon - 4pm

Monday, 26th January 10am - 5pm

Tuesday 27th January 10am - 5pm

Morning of Sale from 9am


ENQUIRIESSimon [email protected]: +44 (0)131 557 8844

Cathy MarsdenTel: +44 (0)131 557 8844 [email protected]


Select Jewellery & WatchesWednesday, 10th December, 201433 Broughton Place, Edinburgh


EnquiriesTrevor KyleTel: +44 (0)131 557 8844 [email protected]

Ruth DavisTel: +44 (0)131 557 8844 [email protected]

IWC - International Watch Co. Ltd.SchaffhausenLe Grande ComplicationCirca 1992, Edition No. 11/50

Dial diameter: 42mm

£60,000-80,000

VIEWINGSunday, 7th December 12 noon - 4pm Monday, 8th and Tuesday 9th December 10am - 5pm Morning of Sale from 9am


90


email: [email protected] www.lyonandturnbull.com




Board of Directors

ChairmanSir Angus Grossart

Vice ChairmenPaul RobertsNick Curnow

Managing DirectorGavin Strang

International DirectorLee Young

DirectorsCampbell ArmourTrevor KyleJohn MackieMhairi McFadden

Associate DirectorAlex Dove

Specialist Departments

Pictures, Watercolours andPrintsNick CurnowCharlotte RiordanEmily Johnston (London)Carly Shearer

Furniture, Clocks and Works of ArtDouglas GirtonJohn MackieTheo Burrell

Asian Works of ArtLee YoungAnna Westin (consultant)Sara Pierdominici

Rugs and CarpetsGavin Strang

Jewellery, Silver, Coins and MedalsTrevor KyleRuth Davis

Decorative Arts and DesignJohn MackieTheo Burrell

European Ceramics and GlassDouglas GirtonJohn Mackie

Rare Books, Maps, Manuscriptsand Photographs Simon VickersCathy Marsden

Arms and ArmourColin FraserJohn Batty (consultant)


91

Finance DirectorMhairi McFadden

Office ManagerLaura Henderson

AccountsFlo MarshallEileen WelshSarah Laing

AdministrationEdinburghKim AitchisonEleanor WelshJennifer Somerville

GlasgowLinda Robinson James McNaught

Saleroom StaffSydney DrewDavid RobertsonScott MitchellDavid FiddesValerie Kyle

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PhotographyAlex Robson

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Lyon & Turnbull are one of the leading specialist valuationcompanies in the UK. In Scotland, we specialise in InheritanceTax, Capital Gains Tax and other tax planning valuations.

Edinburgh Tel: +44 (0)131 557 8844Glasgow Tel: +44 (0)141 333 [email protected]

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Insurance & beyond ScotlandInsurance valuations and other types of valuation in the rest of the UK and internationally are looked after by our partnervaluations company, Pall Mall Art Advisors.

Pall Mall Art AdvisorsTel: +44 (0)845 882 [email protected]

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Paul RobertsIan Peter MacDonaldLindsey MichieJames McNaughtSteven MooreJohn ThomsonTessa ThomsonLady Middleton


Paul Roberts

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[email protected]

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with our clients to provide a carefully tailored approach to the sale of their collections.

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94

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6. RESERVES(a) You are entitled to place, prior to theauction, a reserve on any lot consigned,being the minimum hammer price atwhich that lot may be sold. Reservesmust be reasonable and we maydecline to offer goods which in ouropinion would be subject to anunreasonably high reserve.(b) Firm reserves may be no greaterthan lower pre-sale estimate level.(c) A reserve once set cannot bechanged except with our agreement.(d) You may not bid or instruct orpermit any other person to bid onyour behalf on your own property. Ifthe Seller breaches this prohibition,Lyon & Turnbull may treat the Selleras bound as Seller and as Buyer butwithout the benefit of Lyon &Turnbull Authenticity Guarantee or thereserve, and/or pursue otherremedies.(e) We may sell lots below the reserveprovided we account to you for thesame sale proceeds as you would havereceived had the reserve been thehammer price.

7. LOSS & DAMAGE WARRANTY(a) Subject to condition 7(c) below Lyon& Turnbull will assume liability for lossor damage to an item, commencing atthe time that item is taken into physicalcontrol and possession by Lyon &Turnbull and ceasing on the earliestdate of; (i) when risk passes to the Buyer of thelot following its sale; (ii) for unsold lots, when the lot isreleased to the Seller, or, within 3months of the sale;or (iii) 6 months from the date of deliveryto Lyon & Turnbull for items still in thepossession of Lyon & Turnbull but notconsigned for sale (unless part of along-term storage agreement).(b) Lyon & Turnbull shall charge a lossand damage warranty fee of 1.5% ofthe hammer price, plus VAT. (c) If any loss or damage should occurto the lot during the period identified inparagraphs (a) above, Lyon & Turnbull’sliability to compensate the Seller inrespect of that loss shall be restrictedto a maximum of the upper estimate,or actual loss incurred, whichever islower. This compensation will besubject to a deduction of a 1.5% loss &warranty fee (subject to VAT).

8. UNSOLD ITEMS(1) If an item is unsold it may, with yourconsent, be re-offered at a future sale.Where in our opinion an item is notsuitable for a future sale we may eitherrequest (a) you collect such items fromthe saleroom promptly on being soinformed. We shall be entitled tocharge you for storage costs, chargesshall be made at a reasonable dailyrate; or (b) suggest that the item betransferred to a secondary saleroomfor sale without reserve. Alltransferred lots will be sold for thebest price on the day, this may not bear

any reflection on the item’s originalestimate. Lyon & Turnbull are notliable for any items (whether it beselling price or loss & damage) whentransferred. (2) Aftersales: We reserve the right toaccept an after-auction offer on a loton behalf of the seller, at the agreedreserve price or above, for up to 48hours after the original auction. Inwhich case the same charges will bepayable as if such lots had been sold atauction and so far as appropriate theseConditions apply.

9. LOT WITHDRAWAL If a Seller wishes to withdraw a lotorganised for sale, a withdrawal feewill apply; (a) if withdrawn over 28 working daysprior to the sale, this will be charged at10% of the mid estimate along with anyancillary charges incurred (such asphotography), all subject to VAT at thecurrent rate.(b) if withdrawn within 28 working daysof the sale, this will be charged at 20%of the mid estimate along with anyancillary charges incurred (such asphotography), all subject to VAT at thecurrent rate.(c) Lyon & Turnbull may withdraw a lotfrom the proposed sale without anyliability if: (i) Lyon & Turnbull reasonably believesthat there is any doubt as to the lot‘sauthenticity or attribution; or (ii) it reasonably doubts the accuracy ofany of the Seller’s warranties; or (iii) the Seller breaches any provisionsof the Conditions of Sale in anymaterial respect; or (iv) the lot suffers from loss or damageso that it is not in the state in which itwas when Lyon & Turnbull tookdelivery of it. (d) if an item is withdrawn from saleunder Condition 9(c) (i), or (iv), theSeller shall not be charged awithdrawal fee and the item shall bereturned to the Seller or dealt withpursuant to Clause 8, as the Sellerdecides.

10. AUTHORITY TO DEDUCTCOMMISSION AND EXPENSES ANDRETAIN PREMIUM AND INTEREST.The Seller authorises us to deductcommission at the stated rate, and allexpenses incurred for your accountfrom the hammer price, and consentsto our right to retain beneficially thepremium paid by the Buyer inaccordance with these Conditions ofSale and any interest earned on thesale proceeds until the date ofsettlement.

11. NON-PAYMENT BY THE BUYER(a) Lyon & Turnbull will, where itconsiders appropriate, take reasonablesteps to investigate the ability ofbidders to pay for lots and will usereasonable endeavours, in consultationwith the Seller, to enforce payment ofthe Hammer Price by any Buyer.(b) Lyon & Turnbull, in consultationwith the Seller, will decide whether topursue any of the remedies available toit, including those set out in Condition10 of the Condition of Sale (Buyers)including the right to cancel the saleand return the property to the Seller.

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CONDITIONS OF SALESELLERS


only and disclaims any responsibilityfor default by Sellers or Buyers.

17. DATA PROTECTIONIn connection with the managementand operation of our business and themarketing and supply of Lyon &Turnbull’s services, or as required bylaw, we may ask the Seller to providepersonal information about themselvesor obtain information about the Sellerfrom third parties (e.g. creditinformation). Lyon & Turnbull will notgive out personal information except asmay be required by law. If you would like further information onLyon & Turnbull policies on personaldata, or to make corrections to yourinformation, please contact us on +44(0)131 557 8844.

18. LAW AND JURISDICTION(a) Governing Law: These Conditions ofSale and all aspects of all matters,transactions or disputes to which theyrelate or apply shall be governed by,and interpreted in accordance with,Scots law (b) Jurisdiction: The Seller agrees thatthe Courts of Scotland are to haveexclusive jurisdiction to settle alldisputes arising in connection with allaspects of all matters or transactionsto which these Conditions of Salerelate or apply.

Lyon & Turnbull will inform the Sellerof any action which it contemplatestaking against the Buyer.(c) lf the Seller elects to take actionagainst any Buyer on its own behalfLyon & Turnbull will provide the Sellerwith such assistance as may bereasonably necessary to pursue thataction.(d) The Seller hereby agrees to informLyon & Turnbull of any action which itchooses to take against the Buyer toenforce payment of the amount due tothe Seller.(e) In the event that a Buyer fails to payfor a lot in accordance with theConditions of Sale for Buyers, that lotwill be treated in the same way as anunsold or collected lot.

12. SETTLEMENT PAYMENTSSubject to full payment by the Buyer,payment of the net proceeds of saledue to you will be made over to you 28working days following a sale. Providedwe have received cleared funds.Payment will be made by cheque orBACS (if requested).

13. SALE BY PRIVATE TREATY(a) The same Conditions of Sale(Sellers) shall apply to sales by privatetreaty. (b) Private treaty sales made under

these Conditions are deemed to besales by auction and subject to ouragreed charges for Sellers and Buyers. (c) Lyon & Turnbull undertakes toinform the Seller of any offers itreceives in relation to an item prior toany Proposed Sale, excluding thenormal method of commission bids.(d) For the purposes of a private treatysale, if a lot is sold in any othercurrency than Sterling, the exchangerate is to be taken on the date of sale.

14. THIRD PARTY LIABILITYAll members of the public on ourpremises are there at their own riskand must note the lay-out of theaccommodation and securityarrangements. Accordingly neither theauctioneer nor our employees oragents shall incur liability for death orpersonal injury (except as required bylaw by reason of our negligence) orsimilarly for the safety of the propertyof persons visiting prior to or at a sale.

15. GENERAL(a) We shall have the right at ourdiscretion, to refuse admission to ourpremises or attendance at our auctionsby any person.(b) Any notice to any Buyer, Seller,bidder or viewer may be given by email,or if not available then first class mail,in which case it shall be deemed to

have been received by the addressee 48hours after posting.(c) Notices to Lyon & Turnbull shouldbe in writing and addressed to NickCurnow at 33 Broughton Place,Edinburgh EH1 3RR, quoting thereference number specified at thebeginning of the sale catalogue.(d) Should any provision of theseConditions of Sale be heldunenforceable for any reason, theremaining provisions shall remain infull force and effect.(e) These Conditions of Sale are notassignable by either party without theother’s prior written consent, but arebinding on the seller’s successor andrepresentatives. No act, omission ordelay by Lyon & Turnbull shall bedeemed a waiver or release of any ofits rights.(f) The contract between the partiesmay be varied by the parties byagreement and in writing.

16. AGENCY Lyon & Turnbull acts as agent solelyfor and in the interests of the Seller.We do not act for Buyers in this roleand does not give advice to Buyers.When Lyon & Turnbull make astatement about a lot it is doing so onbehalf of the Seller of the lot. The Auctioneer normally acts as agent

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The Auctioneer carries on businesswith bidders, Buyers and all thosepresent in the auction room prior to, orin connection with, a sale on thefollowing General Conditions and onsuch other terms, conditions andnotices as may be referred to herein.

1. DEFINITIONS In these Conditions of Sale (Buyers): “Auctioneer” means Lyon & TurnbullLtd or its authorised auctioneer, asappropriate; “Hammer price” means the level ofbidding reached (at or above anyreserve) when the Auctioneer bringsdown the hammer; “Lot” means each Item offered for saleby Lyon & Turnbull; “Purchase Price” is theh ammer Priceand applicable Buyer‘s Premium; “Reserve” means the lowest pricebelow which an item cannot be sold; “Total amount due” means thehammer price in respect of the lot soldtogether with any premium, ValueAdded Tax or other taxes chargeableand any additional charges payable bya defaulting Buyer under theseConditions; “You”, “Your” means the Buyer“Us”, “Our”, “We” etc. refers to Lyon &Turnbull LtdThe singular includes the plural andvice versa as appropriate.

2. AGENCYLyon & Turnbull acts as agent solelyfor and in the interests of the Seller.We do not act for Buyers in this roleand does not give advice to Buyers.When Lyon & Turnbull make astatement about a lot it is doing so on

behalf of the Seller of the lot. The Auctioneer normally acts as agentonly and disclaims any responsibilityfor default by Sellers or Buyers.

3. BIDDING PROCEDURES AND THEBUYER (a) Bidders are required to registertheir particulars before bidding and tosatisfy any security and creditreferences or arrangements beforeentering the auction room to view orbid; (b) The maker of the highest bidaccepted by the Auctioneer conductingthe sale shall be the Buyer and anydispute shall be settled at theAuctioneer’s absolute discretion. (c) Once made, no bid may bewithdrawn. (d) Our right to bid on behalf of Sellersis expressly reserved up to the amountof any reserve. (e) The right to refuse any bid is alsoreserved.(f) Commission Bids: While prospectiveBuyers are strongly advised to attendthe auction and are always responsiblefor any decision to bid for a particularlot and shall be assumed to havecarefully inspected and satisfiedthemselves as to its condition we shall,if so instructed, clearly and in writingexecute bids on their behalf. Neitherthe Auctioneer nor our employees noragents shall be responsible for anyfailure to do so. Where two or morecommission bids at the same level arerecorded we reserve the right in ourabsolute discretion to prefer the firstbid so made. (g) Telephone Bids: If a prospectiveBuyer makes arrangements with usprior to the commencement of the sale

we will use reasonable efforts tocontact them to enable them toparticipate in bidding by telephone. Wedo not accept liability for failure to doso or for errors and omissions inconnections. (h) Online Bidding: We will usereasonable efforts to carry out onlinebids and do not accept liability forequipment failure, inability to accessthe internet or software malfunctionsrelated to execution of online bids/ livebidding.

4. INCREMENTSBidding increments shall be at theAuctioneer’s sole discretion.

5. THE PURCHASE PRICE For each lot purchased a Buyer‘sPremium of 25% is payable on the first£25,000 of the hammer price, 20%thereafter. VAT at the appropriate rateis charged on the Buyer‘s Premium. NoVAT is payable on the hammer price orpremium for printed books orunframed maps bought at auction.Live online bidding is subject to anadditional 3% premium (charged by thelive bidding service providerInvaluable). This additional premium issubject to VAT at the appropriate rateas above.

6. VALUE ADDED TAX Value Added Tax is charged at theappropriate rate prevailing by law atthe date of sale and is payable byBuyers of relevant lots. (1) Lots affixed with (†): Value AddedTax on the hammer price is imposed bylaw on all items affixed with a dagger(†). This imposition of VAT maybebecause the Seller is registered for VATwithin the European Union and is not

operating under a Margin Scheme. (2) Lots affixed with (*): A reduced rateof Value Added Tax on the hammerprice of 5% is payable. This indicatesthat a lot has been imported fromoutwith the European Union. Thisreduced rate is applicable to Antiqueitems. (3) Lots affixed with [Ω]: Standard rateof Value Added Tax on the hammerprice and premium is payable. Thisapplies to items that have beenimported from outwith the EuropeanUnion and do not fall within thereduced rate category outlined above.

7. DROIT de SUITEThis symbol § indicates works whichmay be subject to the Droit de Suite orArtist’s Resale Right, which took effectin the United Kingdom on 14thFebruary 2006. We are required tocollect a royalty payment for allqualifying works of art. Under newlegislation which came into effect on1st January 2012 this applies to livingartists and artists who have died in thelast 70 years. This royalty will becharged to the Buyer on the hammerprice and in addition to the Buyer’spremium. It will not apply to workswhere the hammer price is less than€1,000 (euros). The charge for works ofart sold at and above ¤1,000 (euros)and below €50,000 (euros) is 4%. Foritems selling above €50,000 (euros),charges are calculated on a slidingscale. All royalty charges are paid tothe Design and Artists CopyrightSociety (‘DACS’) and no handling costsor additional fees are retained by theauctioneer. Resale royalties are notsubject to VAT. Please note that theroyalty payment is calculated on therate of exchange at the EuropeanCentral Bank on the date of the sale.

BUYERS


agreed charges for Sellers and Buyers. (c) Lyon & Turnbull undertakes toinform the Seller of any offers itreceives in relation to an item prior toany Proposed Sale, excluding thenormal method of commission bids.(d) For the purposes of a private treatysale, if a lot is sold in any othercurrency than Sterling, the exchangerate is to be taken on the date of sale.

15. THIRD PARTY LIABILITY All members of the public on ourpremises are there at their own riskand must note the lay-out of theaccommodation, safety and securityarrangements. Accordingly, neither theAuctioneer nor our employees oragents shall incur liability for death orpersonal injury or similarly for thesafety of the property of personsvisiting prior to, or at, a sale.

16. GENERAL (a) We shall have the right at ourdiscretion, to refuse admission to ourpremises or attendance at our auctionsby any person.(b) Any notice to any Buyer, Seller,bidder or viewer may be given by emailif not available then first class mail inwhich case it shall be deemed to havebeen received by the addressee 48hours after posting.(c) Notices to Lyon & Turnbull shouldbe in writing and addressed to NickCurnow at 33 Broughton Place,Edinburgh EH1 3RR, quoting thereference number specified at thebeginning of the sale catalogue.(d) Should any provision of theseConditions of Sale be heldunenforceable for any reason, theremaining provisions shall remain infull force and effect.(e) These Conditions of Sale are notassignable by either party without theother’s prior written consent. No act,omission or delay by Lyon & Turnbullshall be deemed a waiver or release ofany of its rights.(f) The contract between the partiesmay be varied by the parties byagreement and in writing.

17. DATA PROTECTION In connection with the managementand operation of our business and themarketing and supply of Lyon &Turnbull’s services, or as required bylaw, we may ask the Buyer to providepersonal information about themselvesor obtain information about the Buyerfrom third parties (e.g. creditinformation). Lyon & Turnbull will notgive out personal information except asmay be required by law. If you would like further information onLyon & Turnbull policies on personaldata, or to make corrections to yourinformation, please contact us on +44(0)131 557 8844.

18. LAW AND JURISDICTION(a) Governing Law: These Conditions ofSale and all aspects of all matters,transactions or disputes to which theyrelate or apply shall be governed by,and interpreted in accordance with,Scots law (b) Jurisdiction: The Buyer agrees thatthe Courts of Scotland are to haveexclusive jurisdiction to settle alldisputes arising in connection with allaspects of all matters or transactionsto which these Conditions of Salerelate or apply.

More information on Droit de Suite isavailable at www.dacs.org.uk.

8. PAYMENT (1) Within 7 days of a lot being sold youwill: (a) Pay to us the total amount due incash or by such other method as isagreed by us. We accept cash, banktransfer (details on request), debitcards and Visa or MasterCard creditcards. We do not accept AmericanExpress.(b) Please note there is a surcharge of2% when using credit cards. (c) Please note that under The MoneyLaundering Regulations 2007 wecannot accept cash payments over¤15,000 (euros). (2) Any payments by you to us may beapplied by us towards any sums owingby you to us howsoever incurred andwithout agreement by you or youragent, whether express or implied.

9. TITLE AND COLLECTION OFPURCHASES (1) The ownership of any lotspurchased shall not pass to you untilyou have made payment in full to us ofthe total amount due. (2) You shall at your own risk andexpense take away any lots that youhave purchased and paid for not laterthan 7 working days following the dayof the auction or upon the clearance ofany cheque used for paymentwhichever is later. We can provide youwith a list of shippers. However, we willnot be responsible for the acts oromissions of carriers or packerswhether or not recommended by us. (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 heldat our main sale room and thepotential storage charges for lots notcollected by the appropriate time.(5) Export of goods: Buyers intendingto export goods should ascertain (a)whether an export licence is requiredand (b) whether there is any specificprohibition on importing goods of thatcharacter, e.g. items that may containprohibited materials such as ivory orrhino horn. It is the buyer’s soleresponsibility to obtain any relevantexport or import licence. The denial ofany licence or any delay in obtaininglicences shall neither justify therecession of any sale not any delay inmaking full payment for the lot.

10. REMEDIES FOR NON·PAYMENT ORFAILURE TO COLLECT PURCHASES (1) If any lot is not paid for in full andtaken away in accordance with theseConditions or if there is any otherbreach of these Conditions, we, asagent for the Sellers and on theirbehalf, shall at our absolute discretionand without prejudice to any otherrights we may have, be entitled toexercise one or more of the followingrights and remedies: (a) to proceed against you for damagesfor breach of contract; (b) to rescind the contract for sale ofthat lot and/or any other lots sold by usto you; (c) to resell the lot (by auction orprivate treaty) in which case you shallbe responsible for any resultingdeficiency in the total amount due(after crediting any part payment andadding any resale costs).

(d) to remove, store and insure the lotin the case of storage, either at ourpremises or elsewhere and to recoverfrom you all costs incurred in respectthereof; (e) to charge interest at a rate notexceeding 1.5% per month above thecurrent base rate on all sumsoutstanding for more than 7 workingdays after 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 toimpose conditions before any such bidsshall be accepted; (h) to apply any proceeds of sale ofother lots due or which become due toyou towards the settlement of the totalamount due by you and to exercise alien over any of your property in ourpossession for any purpose until thedebt due is satisfied.

11. DESCRIPTIONS AND CONDITION(1) whilst we seek to describe lotsaccurately, it may be impractical for usto carry out exhaustive due diligence oneach lot. Prospective Buyers are givenample opportunities to view andinspect before any sale and they (andany independent experts on theirbehalf) must satisfy themselves as tothe accuracy of any description appliedto a lot. Prospective Buyers also bid onthe understanding that, inevitably,representations or statements by us asto authorship, genuineness, origin,date, age, provenance, condition orestimated selling price involve mattersof opinion. We undertake that any suchopinion shall be honestly andreasonably held and only acceptliability for opinions given negligentlyor fraudulently. Subject to the foregoingneither we the auctioneer or ouremployees or agents accept liability forthe correctness of such opinions andno warranties, whether relating todescription, condition or quality of lots,express, implied or statutory, are given.(2) Condition reports: Condition reportsare provided on our website or uponrequest. The absence of a report doesnot imply that a lot is withoutimperfections. Large numbers of suchrequests are received shortly beforeeach sale and department specialistsand administration will endeavor torespond to all requests although weoffer no guarantee. Any statement inrelation to the lot is merely anexpression of opinion of the Seller orLyon & Turnbull and should not berelied upon as an inducement to bid onthe lot. Lots are available forinspection prior to the sale and you arestrongly advised to examine any lot inwhich you are interested prior to thesale. Our condition reports are notprepared by professional conservators,restorers or engineers.(3) Estimates: Estimates are placed oneach lot to help Buyers gauge thesums involved for the purchase of aparticular lot. Estimates do not includethe Buyer’s Premium or VAT.Estimates are a matter of opinion andprepared in advance. Estimates maybe subject to change are for guidanceonly and should not be relied upon.(4) Catalogue Alterations: Lotdescriptions and estimates areprepared in advance of the sale andmay be subject to change. Anyalterations will be announced on thecatalogue alteration sheet, madeavailable prior to the sale. (5) Electrical Goods: are sold as

“works of art” only and if bought foruse must be checked over forcompliance with safety regulations by aqualified electrician first. Use of suchgoods is entirely at the risk of theBuyer and no warranties as to safety ofthe goods are given.(6) Upholstered items: are sold as“works of art” only and if bought foruse must be checked over forcompliance with safety regulations(items manufactured prior to 1950 areexempt from any regulations). Use ofsuch goods is entirely at the risk of theBuyer and no warranties as to safety ofthe goods are given.(7) Special terms may be used incatalogue descriptions of particularclasses of items (Books, Jewellery,Paintings, Guns, Firearms etc.) inwhich case the descriptions must beinterpreted in accordance with anyglossary appearing in the catalogue.These notices and terms will also formpart of our terms and conditions ofsales.

12. BOOKS, CLOCKS & WATCHES(1) Books-Collation: If on collation anyNAMED item in the sale catalogueproves defective, in text or illustrationthe Buyer may reject the lot providedhe returns it within 21 days of the salestating the defect in writing. This,however, shall not apply in the case ofunnamed items, periodicals,autographed letters, music M.M.S.,maps, drawings NOR in respect ofdamage to bindings, stains, foxing,marginal worm holes or other defectsnot affecting the completeness of thetext NOR in respect of Defectsmentioned in the catalogue, or at thetime of sale, NOR in respect of lotssold for less than £300. (2) Clocks & Watches: All lots are sold“as seen”, and the absence of anyreference to the condition of a clock orwatch does not imply that the lot is ingood condition and without defects,repairs or restorations. Most clocksand watches have been repaired in thecourse of their normal lifetime andmay now incorporate parts not originalto them. Furthermore, Lyon & Turnbullmakes no representation or warrantythat any clock or watch is in workingorder. As clocks and watches oftencontain fine and complex mechanisms,bidders should be aware that a generalservice, change of battery or furtherrepair work, for which the Buyer issolely responsible, may be necessary.Bidders should also be aware that Lyon& Turnbull cannot guarantee a watchwill remain waterproof if the back isremoved. Bidders should be awarethat the importation of watches suchas Rolex, Frank Muller and Corum intothe United States is highly restricted.These watches may not be shipped tothe USA and can only be importedpersonally.

13. CITESPlease be aware that all lots markedwith the symbol Y are subject to CITESregulations when exporting these itemsoutside the EU. These regulations maybe found athttp://www.defra.gov.uk/ahvla-en/imports-exports/cites/

14. SALE BY PRIVATE TREATY (a) The same Conditions of Sale(Buyers) shall apply to sales by privatetreaty. (b) Private treaty sales made underthese Conditions are deemed to besales by auction and subject to our

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Local DeliveriesA&S Pert Removals. Tel. +44 (0)7876 343520.

Thistle RemovalsTel: +44 (0)7836 774712Email: [email protected]

New Leaf RemovalsTel: +44 (0)7999 926261Email:[email protected]

Packing and Shipping Please note that we do not packor ship items. The followingsuggested carriers will be ableto arrange packing andshipping; please contact themdirectly to receive a quote. Youmay wish to contact analternative courier.

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

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

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

Aardvark Art Services LtdBirks Farm, Ballam RoadLytham, Lancashire FY8 4NLTel: +44 (0)1253 794673Fax: +44 (0)1253 730580Email:[email protected]

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

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

Administration fee:£20 + VAT

Storage charges per lot perday are:

Large Items£5 inc. insurance + VAT

Small Items£2.50 inc. insurance + VAT

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

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. 2014. 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.

T York Place Tram Station

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Thursday, 11th December, 201433 Broughton PlaceEdinburgh EH1 3RR


email. [email protected]



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scottish paintings & sculpture | 11/12/2014

Documents

arts cover

import vat

vat chargeable

packor ship items

day of sale

lot perday

buyers premium25

heldfree of charge