Fine Paintings sale catalogue for Lyon & Turnbull

Fine Paintings Wednesday 1st December 201033 Broughton PlaceEdinburgh

EDINBURGH

Catalogue: £10

BUYERS’ PREMIUM25% up to £25,00020% thereafter.VAT will be charged on the premiumat the rate imposed by law.*17.5% VAT chargeable on the lot itself†5% import VAT on the lot§Droit de Suite (artists’ retail rights)applies(see our Terms and Conditions of Saleand Information for Buyers).

Fine Paintings

Wednesday 1st December 2010at 11am

Sale Number LT302

In association with

The Royal Glasgow Instituteof the Fine Arts

ViewingFriday 26th November 10am - 5pmSunday 28th November 2pm - 5pmMonday 29th November 10am - 5pmTuesday 30th November 10am - 5pm (restricted viewing)Morning of sale strictly by appointment only

Specialists

Nick [email protected]

Elena [email protected]

Rebecca [email protected]

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

By telephoneBids submitted by telephone mustbe confirmed in writing.

Telephone biddingIf you are unable to attend the salewe can normally arrange for you tobid on the telephone. This service isavailable entirely at our discretionand at the bidder’s risk. Alltelephone bids must be confirmed inwriting, listing the relevant lots andappropriate number to be called. Werecommend that a covering bid isalso left in the event that we areunable to make the call. We cannotguarantee that lines will beavailable, or that we will be able tocall you on the day, but willendeavour to undertake such bids tothe best of our abilities.

Methods of PaymentGoods purchased will not bereleased until we have received fullpayment.

CashCash payments can be made at theaccounts desk during or after a sale.

ChequeCheques should be made payable toLyon and Turnbull Ltd. We reservethe right to wait until cheques havebeen cleared by our bankers beforereleasing bought goods. Chequescan be cleared prior to sale onrequest. Cheques drawn by thirdparties cannot be accepted. If payingby post please include the slip fromyour invoice.

Switch or Credit CardsPayment can be made by Switch,Mastercard or Visa cards. There is asurcharge on credit card payments.CollectionIt is the buyer’s responsibility toascertain collection procedures,particularly if the sale is not beingheld at our main saleroom.

Electrical GoodsLots that were once operated bymains electricity are bought entirelyat the buyer’s risk. They are offeredfor sale for display or historicalpurposes and may not comply withcurrent regulations.

BiddingAt the SaleTo bid at the sale all potentialbuyers must be registered with uson or before the day of sale. We willneed proof of identification andresidence, and may require a bankreference. Potential buyers mustcollect a bidding number before thesale begins, and show that numberif successful in purchasing a lot.Please ensure that the auctioneerrepeats the number correctly whenconfirming the sale. If there is anydoubt at this stage as to thehammer price or buyer it must bebrought to the auctioneer’s attentionimmediately. All lots will be invoicedto the name and address given onyour registration form, which is non-transferable. If you have purchaseda lot you may take your biddingnumber to the accounts departmentand receive an invoice immediately.If you have not been successfulplease leave the number at theRegistration or Reception desks.

In writingBid forms are available at the saleand at the back of the catalogue.These should be submitted inperson, by post, or by fax as soon aspossible prior to the sale and we willbid on your behalf up to the limitindicated. In the event of receivingtwo identical bids the first onereceived will take precedence. Theymust be received at the very latestat least an hour before the sale. Wewill do our utmost to execute thesebids but we offer this service entirelyat the bidder’s risk.

Under this legislation, we arerequired to collect a royalty paymentfor all qualifying works of art, wherethe artist is still living. This royaltywill be charged to the buyer on thehammer price and in addition to thebuyers premium. It will not apply toworks where the hammer price isless than !1,000 (euros). The chargefor works of art sold at and above!1,000 (euros) and below !50,000(euros) is 4%. For items sellingabove !50,000 (euros), charges arecalculated on a sliding scale.All royalty charges are paid to theDesign and Artists Copyright Society(‘DACS’) and no handling costs oradditional fees are retained by theauctioneer. Resale royalties are notsubject to VAT.Please note that the royalty paymentis calculated on the rate of exchangeat the European Central Bank on thedate of the sale.More information on Droit de Suiteis available at www.dacs.org.ukDamage and RestorationOccasionally when a lot has sufferedextensive damage and/or restorationit is indicated in the catalogue. Thisis mentioned entirely at ourdiscretion for the benefit of buyers.Where there is no mention ofdamage and/or restoration thisshould not be taken to mean thatthere is none. It is the buyer’sresponsibility to ensure that thecondition of lots is to theirsatisfaction (see our Terms andConditions of Sale).

Condition ReportsIf potential buyers are unable toinspect lots in person our specialistswill be happy to prepare detailedCondition Reports on individual lotsas quickly as possible. These are forguidance only and all lots are sold‘as found’ (see our standard Termsand Conditions of Sale).

Buying at AuctionThis sale is subject to our standardTerms and Conditions of Sale. If youhave not bought at auction beforewe will be delighted to advise you.

EstimatesEstimates are printed below each lotand do not include the buyer’spremium. The sale will beconducted in pounds sterling.

DimensionsDimensions are for guidance only; itis the buyer’s responsibility toensure that they are correct.

Buyer’s Premium

The buyer shall pay the hammerprice together with a premiumthereon.

Antiques, Jewellery & Silver andPictures (Not Fine Sales)17.5%

All other sales(Fine/Special/Collections)25% up to £25,000 / 20% thereafter.VAT will be charged on the premiumat the rate imposed by law. (see ourTerms and Conditions of Sale).VATThe symbol * by a lot numberindicates that VAT is payable by thepurchaser at the standard rate onthe hammer price.The symbol † by a lot numberindicates that the lot has beentemporarily imported from outsidethe EU and that VAT is payable bythe purchaser at the rate of 5% onthe hammer price and the buyer’spremium.No VAT is payable on the hammerprice or premium for books boughtat auction.

Droit de SuiteThis symbol § indicates works whichmay be subject to the Droit de Suiteor Artist’s Resale Right, which tookeffect in the United Kingdom on 14thFebruary 2006.

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

Important informationfor buyers

1 EAA292/1CHARLES OPPENHEIMERR.S.A., R.S.W.(SCOTTISH 1876-1961)ON THE DEE,KIRKCUDBRIGHTSigned, watercolour

46cm x 56cm (18in x 22in)

£1,500-2,000


Fine Paintings

3

2 EAA289/3SIR JAMES LAWTONWINGATE R.S.A.(SCOTTISH 1846-1924)HARVEST, ARRANSigned, oil on canvas

32cm x 50cm (12.5in x 19.75in)

£500-700


Fine Paintings

4

3 EAA267/21JOSEPH MORRISHENDERSON R.S.A.(SCOTTISH 1864-1936)THE CULLIN HILLS, FROMMORAR NEAR MALLAIGSigned, oil on canvas

49cm x 74cm (19.25in x 29in)

£700-900

4 EAC169/1ROBERT RUSSELL MACNEER.I. (SCOTTISH 1880-1952)CHICKENS ON A SUNLITPATHSigned and dated ‘24, oil oncanvas


£2,000-3,000


Fine Paintings

5

5 EAA570/2DAVID WEST R.S.W.(SCOTTISH 1868-1936)MELROSE BAY, MACDUFFSigned, watercolour

51cm x 68cm (20in x 26.75in)

£1,500-2,000


Fine Paintings

6

6 EAC99/9PATRICK DOWNIE R.S.W.(SCOTTISH 1854-1945)OFF THE AYRSHIRE COASTSigned, watercolour

36cm x 52cm (14in x 20.5in)

£1,000-1,500

7 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)

£2,000-3,000


Fine Paintings

7

8 EAA416/10HUGH MUNRO R.G.I.(SCOTTISH 1875-1928)IONA AND RAINSigned and dated ‘19, oil oncanvas


£2,000-3,000


Fine Paintings

8

9 EAA289/2SIR JAMES LAWTONWINGATE R.S.A.(SCOTTISH 1846-1924)SUNLIT ESTUARYSigned, oil on canvas

40cm x 50cm (16in x 19.75in)

£600-800


Fine Paintings

9

10 EAC169/2WILLIAM MILLER FRAZERR.S.A. (SCOTTISH 1864-1961)WIND IN THE REEDSSigned, oil on canvas


£3,000-5,000

11 EAA570/3THOMAS BUNTING(SCOTTISH 1851-1928)BALMORAL CASTLE FROMTHE DEESigned, watercolour

36cm x 55cm (14in x 21.75in)

and a companion a pair (2)

£2,000-3,000


Fine Paintings

10

12 EAA570/5JACKSON SIMPSON(SCOTTISH 1893-1963)FISHING FROM THE BOATSigned, watercolour

32cm x 43cm (12.5in x 17in)

£500-700

13 EAC99/5JOSEPH FARQUHARSON R.A.(SCOTTISH 1846-1935)PASSING STORMSigned and dated 1909, oil oncanvas


£2,000-3,000


Fine Paintings

11

14 EAA875/5WILLIAM STEWARTMCGEORGE R.S.A.(SCOTTISH 1861-1931)ON THE SOLWAYSigned, oil on board


£800-1,200


Fine Paintings

12

15 EZ794/22WILLIAM WATT MILNE(SCOTTISH fl. 1888-1915)THE CROSS BY THE ROADSigned, oil on panel

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

£1,000-1,500


Fine Paintings

13

16 EZ338/9JAMES KAY R.S.A., R.S.W.(SCOTTISH 1858-1942)STREET SCENE, EXETERSigned, oil on board


£6,000-8,000

17 EAA875/1JOE MILNE(SCOTTISH 1857-1911)REPAIRING THE BARGESSigned and dated 1921, oil oncanvas


£1,500-2,000


Fine Paintings

14

18 EAC99/10CHARLES JAMES LAUDERR.S.W. (SCOTTISH 1840-1920)SHIPPING ON THE CLYDESigned and dated ‘79, oil oncanvas

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

£1,000-1,500

19 EAC73/1SIR DAVID YOUNG CAMERONR.A., R.S.A.(SCOTTISH 1865-1945)SCHIEHALLIONSigned, oil on canvas

76cm x 117cm (30in x 46in)

£10,000-15,000


Fine Paintings

15

20 EAC99/12WILLIAM MILLER FRAZERR.S.A. (SCOTTISH 1864-1961)FISHING FROM A PUNTSigned, oil on canvas


£1,500-2,000


Fine Paintings

16

21 EAC96/1WILLIAM DARLING MCKAYR.S.A. (SCOTTISH 1844-1924)HAYMAKERS AT WORK NEARGLADSMUIR WITH THEPENTLANDS IN THEDISTANCESigned with initials, oil oncanvas, artist label verso

40cm x 57cm (15.75in x 22.5in)

£1,000-1,500

22 EY122/1ERSKINE NICOL R.S.A., A.R.A.(SCOTTISH 1825-1904)THE LAST DROPSigned and dated 1872, oil oncanvas


£8,000-12,000


Fine Paintings

17

18

Mourne Park is the secluded and history-filled seat of theKilmorey family, who have been in the Newry and Mourne areaof Northern Ireland since the mid 1500s. Predecessor SirNicholas Bagnall was granted extensive lands and a title inNewry and Mourne in 1552 by Edward VI for his military helpagainst Irish chiefs in their clashes with the Tudor dynasty. TheBagnall family married into the Nedham (Needham today)family and the Bagnall name died out in 1708. The Nedhamfamily hailed from Shropshire, where their main seat stood atShavington. Mourne Park was a summer house until the 3rdEarl of Kilmorey’s extravagant lifestyle and spending led to itssale and the family moving to Ireland permanently in thenineteenth century.

The present group of three portraits have been in the Kilmoreyfamily’s possession since each of them were painted. Theybeautifully illustrate the changes English portraitureunderwent in the just over hundred years that separate them.The first work is typical of Elizabethan courtly portraiture, withits very formal composition, lack of concern for rationalanatomy and real depth of character but immense interest incostume and portraying the sitter in an appropriately formal

and dignified manner. The portrait of the 4th Viscount ofKilmorey attributed to John Hayls possesses the dynamismand psychological depth which filtered into portraiture by themiddle of the seventeenth century, whereas the Portrait of theDuke of Schomberg attributed to Kneller demonstrates fullythe sumptuous technique and keen attention to texture anddrama which made Godfrey Kneller the foremost portraitpainter of the late 17th and early 18th century.

The Nedhams’ connection to Ireland goes back to thePlantation of Ireland during James I and Charles I’s reigns. Theprocess of ‘Planting’ Ireland began during the reign of HenryVIII but made significant progress under James I, Charles I andCromwell. It involved confiscating land from Gaelic clans andHiberno-Norman dynasties and populating it with settlers fromEngland, Scotland and Wales, who were Protestant andEnglish-speaking, thus altering the demographic of Ireland,most successfully in Ulster and Munster. The Nedhams wereone of the families which took part in the ‘colonisation’ ofIreland under James I and for his support, the sitter, SirRobert Nedham was granted the feudal Barony of Orhera in1613 and was created Viscount Kilmorey by Charles I in 1625.

23 EAA567/1ATTRIBUTED TO ROBERTPEAKE THE ELDER(BRITISH c. 1551-1619)THREE-QUARTER LENGTHPORTRAIT OF THE FIRSTVISCOUNT OF KILMOREYInscribed and dated 1598, oilon panel

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

£10,000-15,000

The attribution of lot 23 to theportraitist Robert Peake isbased on the strong stylisticsimilarities between thislikeness of Nedham to otherworks by Peake of the Englishnobility such as ElizabethD’Oyly, in the Norwich CastleMuseum and Elizabeth Pouletin the Berger Collection inDenver. The composition ofthe male sitter also bearsstrong resemblance to thePortrait of John Braddyll ofPortfield and Whalley (1557-1616) from 1580s alsoattributed to Peake by PhilipMould, London.

The three-quarter lengthformat and style place itfirmly at the centre ofElizabethan portraiture. Bornin Lincolnshire, Peake wasappointed sergeant painter toJames I in 1607, sharing theoffice with John De Critzt.Peake was already a popularsociety portraitist by the1580s but he undertook theofficial task of painting theroyal likeness when heentered in the service ofJames I. A significant portraitof James I’s second son, thenPrince Charles, Duke of York,and the future Charles I was

commissioned from Peake bythe Vice-Chancellor ofCambridge University in 1613for £13.6s.8d which stillhangs in CambridgeUniversity Library today. Thepresent work depicts Robertas a young man with theNedham (Needham) familycoat of arms to the left and acloak over his left shoulder.His visage is quiet butconfident and his manner anddress refined – a courtiersimilarly at ease at court andin the countryside.

PORTRAITS FROM MOURNE PARK

24 EAA567/2JOHN HAYLS(BRITISH ?-1679)THREE-QUARTER LENGTHPORTRAIT OF THE FOURTHVISCOUNT OF KILMOREYOil on canvas

127cm x 102cm (56in x 40in)

£10,000-15,000


Fine Paintings

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Lot 24 depicts CharlesNedham, 4th Viscount ofKilmorey, the grandson of the1st Viscount of Kilmoreydepicted in lot 23, whosucceeded to the title afterthe death of his half-brotherRobert Nedham, the 3rdViscount in 1657. In 1659along with other Royalists,some of them from thearistocracy, he was involved inthe unsuccessful uprising onbehalf of King Charles IIknown as the Booth Uprising.Nedham liaised with the Earlof Derby and Sir GeorgeBooth, a particularly activeRoyalist in that uprising, atWarrington. RichardCromwell's intelligencemanaged to infiltrate theconspiracy and many of thoseinvolved were interceptedbefore the insurgence hadtaken place. Nedham wasarrested the same year andhe died in prison in 1660,unlike Booth and Derby whoboth escaped conviction andsurvived the Tower of London,later returning to their landsand flourishing when Charles

II was indeed reinstated asKing in May 1660.

The painting, attributed toJohn Hayls is very differentfrom the depiction of hisgrandfather by Peake. Thesitter is portrayed in a mostdynamic composition, hisbody facing away from theviewer and into his privatespace yet turning his head tolook back towards us, as ifinterrupted mid-stride. He isclearly depicted as a man ofaction, his sword prominentlyin the centre of theforeground. Diarist SamuelPepys wrote of Hayls quitefrequently and commissionedfirst a portrait of his wife andthen one of himself fromLely's contemporary andrival. Pepys's description ofsitting for Hayls:

'I sit to have it full ofshadows, and do almostbreak my neck looking overmy shoulder to make theposture for him to work by.(17th March 1666)'

curiously echoes the verydramatic posture of Charles

Nedham, much more so thanPepys's own portrait, now inthe National Portrait Galleryin London. Pepys was tobecome a firm friend to theartist. Hayls was greatlyinfluenced by Anthony VanDyck, both in his handling ofpaint and in his compositions- he was known to use a VanDyck composition directly andjust add his sitter's head. Theunusual pose of glancingback at the viewer may berelated to two of Van Dyck'sSelf-Portraits where theartist depicts himself fromthe waist-up looking over hisshoulder. Hayls demonstrateshis great skill in observingthe variety of textures in hissitter's dress -the gleamingarmour, intricate embroideryon the sleeve and luxuriousvelvet of the green cloak.There is far more intensity inthe sitter's expression andgaze, than in the portrait ofhis grandfather father severaldecades earlier.


Fine Paintings

21

The Duke of Schomberg(1616-1690) is spectacularsubject matter for a formalportrait, depicting one of thegreat professional soldiersand military leaders of 17thcentury Europe, the ‘AblestSoldier of his Age’, asMatthew Glozier has sub-titled his recent biography ofthe Heidelberg-born MashalSchomberg. An orphan froman early age, he began hiscareer in the service ofFrederick Henry, Prince ofOrange, eventually servingSweden, France, the DutchRepublic, Brandenburg andBritain in their militaryendeavours. He was aMarshal of France and aGeneral in the English andPortuguese armies, wasawarded the title of Count ofMértola by the King ofPortugal, the Order of theGarter and created Duke ofSchomberg in the EnglishPeerage.

As historians have noted,Schomberg was one of the


Fine Paintings

22

last international soldiersand military leaders,prospering at a time whenborders in Europe were morepermeable and there was aconstant need forexperienced military leaders.That became less the casetowards the end of the

25 EAA567/3STUDIO OF SIR GODFREYKNELLER(BRITISH 1646-1723)THREE-QUARTER LENGTHPORTRAIT OF THE DUKE OFSCHOMBERGOil on canvas

127cm x 101cm (50in x 40in)

£4,000-6,000

seventeenth century whendifferent governments tookmore control of their armies.An inflexible Protestant,Schomberg married a FrenchHuguenot woman andeventually led William II’sarmies against the Jacobitesupporters of James II in

Ireland, second-in-commandto the Prince of Orange. Hedied at the Battle of theBoyne on 1st July 1690 whilstcrossing the Boyne river andrallying his men and is buriedin St Patrick’s Cathedral.

26 EAA900/118FOLLOWER OF SIR PETERLELY (BRITISH 1618-1680)HALF LENGTH PORTRAIT OFLADY ANNA GORDONOil on canvas, oval


and a companion, a pair, ofJames, third Earl of Perth (2)

£2,000-3,000


Fine Paintings

23

27 EAC176/1COSMO ALEXANDER(SCOTTISH 1724-1772)HALF LENGTH PORTRAIT OFMR BANNERMAN OFFENDRAUGHTRe-inscribed on the reverseand dated 1741, oil on canvas

76cm x 63cm (30in x 24.75in)

£800-1,200


Fine Paintings

24

28 EAC178/1JOHN ALEXANDER(SCOTTISH c. 1690-1757)HALF LENGTH PORTRAIT OFLADY JANE KEITHInscribed with numeral ‘7’.Feigned oval, oil on canvas


£800-1,200

29 EAA391/62ATTRIBUTED TO JOHN HAYLSHALF LENGTH PORTRAIT OFA YOUNG MAN IN ARMOURAND WHITE CRAVATOil on canvas

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

£4,000-6,000


Fine Paintings

25

30 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

26

31 EAC74/6JULIUS CAESAR IBBETSON(BRITISH 1759-1817)RUSTIC FAMILY IN A HILLYLANDSCAPEOil on canvas


Collection:Sir Geoffrey Hutchison

Provenance:Martyn Gregory, London

£1,500-2,000

32 EAC74/9RICHARD WILSON R.A.(BRITISH 1714-1782)ROSAMUND’S POND,ST.JAMES’S PARKOil on canvas


Purchased:Sotheby’s 14th November 1990,lot 97

£4,000-6,000


Fine Paintings

27

33 EAC74/2WILLIAM COLLINS R.A.(BRITISH 1788-1847)FISHERBOYS ON THE CLIFFSOil on panel

46cm x 38.5cm (18in x 15.25in)

Provenance:Colnaghi & Co, London

£2,000-3,000


Fine Paintings

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34 EAC74/1WILLIAM COLLINS R.A.(BRITISH 1788-1847)SHRIMPERS HASTENINGHOMESigned and dated 1846, oil onpanel


Exhibited:Royal Academy 1846.Bought J.Gillott Esq

£1,500-2,000

35 EAA420/1ATTRIBUTED TO DEANWOLSTENHOLMEHUNTERS AND GROOM IN AWOODED LANDSCAPEOil on canvas

63.5cm x 86.5cm (25in x 34in)

£1,500-2,500


Fine Paintings

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Fine Paintings

31

36 EAA420/3REV JOHN THOMSON OFDUDDINGSTON H.R.S.(SCOTTISH 1778-1840)DISTANT VIEW OFEDINBURGH FROMDONIBRISTLEOil on canvas

80cm x 120cm (31in x 47.25in)

Provenance:W. Bryce Brechin, Portobello

Literature:Robert W Napier, John Thomson ofDuddingston, 1919, pp. 459, 460

Note:Napier notes that the painting wasvalued for probate in 1876 for 130guineas

£5,000-8,000

Reverend John Thomson ofDuddingston is a wonderfullypoetic figure in the history ofScottish Art. Working from hisstudio in the tower on thebanks of the DuddingstonLoch, at the foot of theprimordial Arthur’s Seat, heproduced paintings whichsome argue are the first trulyScottish landscapes. Hisprolific and in some respects‘amateur’ output, in the sensethat he did not formally trainas an artist, has been pivotalfor the development of thegenre in Scottish painting. Thepresent painting shows thePentland Hills and Arthur’sSeat seen from across theFirth of Forth, in DonibristlePark in Fife. This was clearly asuccessful compositionbecause a smaller oil of thesame subject matter isrecorded by Baird in thecollection of the artist’s

nephew, Lockhart Thomson ofDerreen, Murrayfield.

Born in Ayrshire, the fourthson of Reverend Thomson ofDailly, Thomson studiedtheology in Glasgow Universityand at Edinburgh, where healso received lessons inpainting from AlexanderNasmyth. Thomson wasordained in 1802 and returnedto his birthplace in Dailly inAyrshire where he combinedpreaching of the gospel andpastoral care for thecongregation with dedicatedexcursions to scenic spots forpainting where he would sitfor hours sketching, like histeacher Nasmyth. He wouldthen complete the paintingback in the studio. He visitedthe English lakes in 1802,later transforming his on-the-spot sketches into fullyworked up watercolours. Hisinterest in art certainlyalienated some members ofthe Ayrshire community whowere said to travel sevenmiles out every Sunday to theBurgher Kirk in Maybolewhere the pastor had lessunorthodox interests. Anotheranecdote recalls Thomsonsketching a particularlypicturesque character seatedamongst the rusticcongregation whilst a seniormember of the clergyperformed communion. Oneof his older fellow ministers,urged by his colleagues is said

to have chastised Thomsonfor the impropriety of a priestsketching during a sermononly to be presented at theend with yet anothercharacter sketch, this time ofhis own cross and sombrefeatures.

Thomson became anexceedingly popular ministerand artist when hetransferred to Duddingston inthe capital and where heserved for thirty-two years. Hewas able to renew oldfriendships and involvehimself in the artistic andintellectual circles ofEdinburgh. He continued todraw and paint and was ableto supplement his modeststipend with the sale of hispaintings, becoming verycomfortable in the process.He remained unwavering inhis goal to depict thelandscape as seen, with fluidbrushstrokes and at times indramatic weather conditions.He became known for ‘thoseterrible skies which onlyThomson can paint’. In this hewas probably influenced bywider British developments inlandscape painting, whilstmany saw his paintings as avisual representation of thespirit of a Romantic age whichproduced the writings of SirWalter Scott. In 1818 he wascommissioned, alongsidecelebrated English artistTurner to produce eleven

plates each for Scott’s text toProvincial Antiquities ofScotland. Turner stayed withhim on the loch and wentsketching with Thomson andHugh ‘Grecian’ Williams. TheEnglishman is said to haveremarked upon Thomson’soutlook on Duddingston loch‘By God, sir, I envy you thatpiece of water’.

Thomson had a keen eye fordetail and anecdotal storiesfrom his memoir, by W Baird,tell of the young lad rising attwo in the morning to travel toHadyard or Kirkhill to witnessthe sun rise. That may bepoetic license but withoutdoubt, John Thomson wasindeed most interested inrepresenting Nature as it is.Baird felt that ‘without truthhe [Thomson] regarded themost elaborately executedlandscape as but a fantasticand idle dream’. It is thatcontinuous insistence onobserving and painting natureand his surroundings asfaithfully as possible thatsituates John Thomson firmlyamong the most important ofScottish artists andlandscapists.

37 EAA396A/2JAMES STARK(BRITISH 1794-1859)IN WINDSOR FORESTOil on panel

25cm x 26cm (9.5in x 14in)

£1,000-1,500


Fine Paintings

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38 LB374/1PATRICK NASMYTH(SCOTTISH 1787-1831)BY A WATERMILLSigned, oil on board

30.5cm x 41cm (12in x 16in)

£2,000-3,000

39 EZ338/10ROBERT HERDMAN R.S.A.,R.S.W. (SCOTTISH 1829-1888)THE YOUNG SHEPHERDESSSigned with a mongram anddated 1857, oil on canvas


£4,000-6,000


Fine Paintings

33

40 EAC45/1WILLIAM JOSEPH SHAYER(BRITISH 1811-1892)FISHERFOLK ON THE BEACHSigned and dated 1845, oil oncanvas

45cm x 60.5cm (17.75in x 24in)

£2,500-3,500


Fine Paintings

34

41 EAA485/2MANNER OF SIR WILLIAMALLANA HIGHLAND JIGOil on canvas


£2,000-3,000

42 EAC75/1JAMES WARD R.A.(BRITISH 1769-1859)THE CHASESigned and dated 1855, oil oncanvas

62.5cm x 76cm (24.75in x 30in)

£6,000-8,000


Fine Paintings

35

43 EAC74/3WILLIAM ETTY R.A.(BRITISH 1787-1849)VENUS AND CUPIDOil on panel

28cm x 18.5cm (11in x 7.25in)

Exhibited:Royal Academy 1865

Literature:Catalogue of Pictures at Somerley

£2,000-3,000


Fine Paintings

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44 EAC154/1JOHN BERNEY CROME(BRITISH 1794-1842)FIGURE BY A WOODLANDSTREAMOil on canvas


£800-1,200

45 EAB530/87DAVID OCTAVIUS HILL R.S.A.(1802-1870)THE MARKET CROSS, AYRSigned, oil on panel


Note:Possibly exhibited R.S.A. 1836, no. 9.

Note:In 1809 Henry Cowan organised theerection of a statue of Robert theBruce in Ayr.

£2,000-3,000


Fine Paintings

37

46 EAA485/4CHARLOTTE NASMYTH(SCOTTISH 1804-1884)FIGURES IN A HIGHLANDGLENSigned and dated 1845,inscribed verso ‘Painted forMrs Walford from anaffectionate friend CharlotteNasmyth 1845’, oil on canvas


£1,500-2,500


Fine Paintings

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47 EAC171/1REV JOHN THOMSON OFDUDDINGSTON H.R.S(SCOTTISH 1778-1840)INVERLOCHY CASTLEOil on canvas


Provenance:The Fine Art Society, No. 1108/76,August 1971.

Collection:The Rt. Hon. Sir John H. A.Macdonald, GCB, LLD, Lord JusticeClerk of Scotland.

Literature:R.Napier, Reverend John Thomsonof Duddingston, 1919, p.417

£1,000-1,500

48 EAC99/19PAUL JONES(BRITISH 19TH CENTURY)THE DAY’S BAGSigned and dated 1876, oil onpanel

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

and a companion a pair (2)

£1,500-2,000


Fine Paintings

39

49 EAA223/1JAMES ECKFORD LAUDERR.S.A. (SCOTTISH 1811-1869)HARD AT ITSigned and indistinctly dated185?, also signed with amonogram, oil on canvas

67cm x 50cm (26.5in x 19.75in)

£1,000-2,000


Fine Paintings

40

50 EAB530/84WILLIAM BROMLEY R.A.(BRITISH 1785-1841)A TASTY MORSELInscribed on label verso, oilon canvas

31cm x 25,5cm (12in x 10in)

£800-1,200

51 EAC175/3THOMAS FAED R.A., R.S.A.(1826-1900)JEANIE DEANSSigned, oil on canvas

35cm x 29cm (13.75in x 11.5in)

£2,000-3,000


Fine Paintings

41

52 EAA570/8REV JOHN THOMSON OFDUDDINGSTON H.R.S.(SCOTTISH 1778-1840)HAWTHORNDEN CASTLEOil on canvas


£1,500-2,000

42

53 LB400/2ALFRED AUGUSTUSGLENDENNING(BRITISH 1840-1910)THE YOUNG SHEPHERD ANDHIS FLOCKSigned, oil on canvas


£2,000-3,000

PAINTINGS FROM THE JOHN GUEST COLLECTION

John Guest MBE MUniv was a British industrialist who came toinvent the now famous ‘Speedfit’ push fit fitting concept whichis used in a host of industrial and domestic applications. Bornas a Yorkshireman, he moved to the Middlesex area as a youngboy. Having left school at 14, he was a member of the HomeGuard and later enjoyed three years of service in the BritishArmy after the Second World War. With no formal schoolqualifications he undertook a tool-making apprenticeshipwhich gave him a passion for Engineering that would stay withhim for the rest of his life.

He founded John Guest Ltd in 1961. The company was, and stillis today, headquartered in West Drayton. From his first day ofwork to his last, John Guest had a set of values and a businessphilosophy from which he never veered. He was a truechampion of British engineering and even today all John Guest

products are designed and manufactured out of the UK . JohnGuest Ltd has a turnover of over £100 million, employs over1200 people, and its product are sold in every corner of theglobe. Notable awards for the company have included fourQueen’s Awards for Export and Innovation, and a British DesignAward. In 2011, the firm he created celebrates its 50thAnniversary, a landmark John Guest would have been proud toachieve.

His great affection for the British Isles is reflected in hispainting purchases. He loved British landscapes, firstly buyingA.A. Glendenning paintings from Christopher Cole's art galleryin Beaconsfield, and then via Richard Green's art gallery inNew Bond Street. More recently, he acquired a passion for stilllifes which he started to buy by attending Sotheby's in NewBond Street.

54 LB400/4ERNEST WALBOURN(BRITISH 1872-1927)GATHERING POPPIESSigned, oil on canvas

60cm x 90cm (23.75in x 35.5in)

£4,000-6,000


Fine Paintings

43

56 LB400/8JOHN WAINWRIGHT(BRITISH fl. 1845-1973)STILL LIFE OF SUMMERFLOWERSSigned and dated 1866, oil oncanvas

63cm x 54cm (24.75in x 21.25in)

£7,000-10,000

55 LB400/6ALFRED AUGUSTUSGLENDENNING(BRITISH 1840-1910)ON THE THAMES ATPANGBOURNESigned, oil on canvas

59cm x 106cm (23.25in x 41.75in)

£3,000-5,000


Fine Paintings

44


Fine Paintings

45

57 LB400/10ERNEST WALBOURN(BRITISH 1872-1927)PUNTINGSigned, oil on canvas

14cm x 26cm (5.5in x 10in)

£600-800


Fine Paintings

46

58 LB400/7DANIEL SHERRIN(BRITISH 1868-1940)ON THE BANKS OF THESEVERNSigned, oil on canvas


£800-1,200

59 LB400/11HAROLD CLAYTON(BRITISH 1896-1976)ROSES, CAMELLIAS ANDWHITE IRISSigned, oil on canvas

54cm x 64cm (21.25in x 25in)

£7,000-10,000


Fine Paintings

47

60 LB400/13MARIA BROOKS(BRITISH 1837-1913)PROFILE OF A GIRLSigned verso, oil on canvas

19cm x 14cm (7.5in x 5.5in) oval

£800-1,200


Fine Paintings

48

61 LB400/14HELEN ALLINGHAM R.W.S.(BRITISH 1848-1926)PORTRAIT OF A YOUNG GIRLSigned, watercolour

15cm x 12cm (6in x 4.75in) oval

£1,000-1,500

62 LB400/15HEYWOOD HARDY A.R.W.S.,R.P., R.W.A.(BRITISH 1842-1933)AT THE INNSigned, oil on canvas

44cm x 67cm (17.25in x 26.25in)

£7,000-10,000


Fine Paintings

49

64 LB400/12CECIL KENNEDY(BRITISH 1905-1997)AUTUMNSigned, oil on canvas

61cm x 50cm (24in x 19.75in)

Provenance:Richard Green, London

£20,000-30,000

63 LB400/1ALFRED AUGUSTUSGLENDENNING(BRITISH 1840-1910)MIDHURST COMMON,SUSSEXSigned, oil on canvas

44cm x 80cm (17.25in x 31.5in)

£2,000-3,000


Fine Paintings

50


Fine Paintings

51

65 LB400/5OCTAVIUS OAKLEY(BRITISH 1800-1867)THE GIRL IN A RED CAPEWatercolour

28cm x 22cm (11in x 8.75in)

£600-800


Fine Paintings

52

66 LB400/3ALFRED AUGUSTUSGLENDENNINGTAMING A DOVESigned, watercolour

44cm x 22cm (17.25in x 8.75in)

£400-600

67 LB400/16WILLIAM MELLOR(BRITISH 1851-1931)FAILY GLEN, NORTH WALESSigned, inscribed verso, oil oncanvas

89cm x 70cm (35in x 27.5in)

£2,000-3,000


Fine Paintings

53

68 LB400/17DANIEL PASMORE(BRITISH 1829-1891)SCENE FROM WOODSTOCK -SIR HENRY LEE AND HISDAUGHTERSigned, oil on canvas

34cm x 44cm (13.25in x 17.25in)

£600-800


Fine Paintings

54

OTHER PROPERTIES

69 LB374/2ROBERT ALEXANDERHILLINGFORD(BRITISH 1828-1904)THE INTRUDERSigned with a monogram, oilon canvas


£800-1,200

70 EAB393A/9JAMES KAY R.S.A., R.S.W.(SCOTTISH 1858-1942)SHIPPING ON THE CLYDESigned, oil on board


Provenance:The Estate of the Late Jean GordonWelsh

£4,000-6,000


Fine Paintings

55

71 EAA517/1WILLIAM MCTAGGART R.S.A.,R.S.W. (SCOTTISH 1835-1910)THE TREE FRINGED ROADSigned and dated 1890,watercolour


Provenance:Mrs Strickland, Halifax

Literature:James L Caw, William McTaggart,p.263

£2,000-3,000


Fine Paintings

56

72 EAC99/18SAM BOUGH R.S.A.(SCOTTISH 1822-1878)HOLMWOOD COMMONSigned, inscribed and dated1874, watercolour

25.5cm x 46cm (10in x 14in)

£1,000-1,500

73 LB395/1JOHN MCGHIE(SCOTTISH 1867-1952)THE INCOMING TIDESigned, oil on canvas

45cm x 60cm (17.75in x 23..5in)

£6,000-8,000


Fine Paintings

57

74 EAC155/3WILLIAM MCTAGGART R.S.A.,R.S.W. (SCOTTISH 1835-1910)HALF LENGTH PORTRAIT OFBAILLIE DUNCANMACDONALD AND HIS DOGSigned and dated 1896, oil oncanvas


Literature:James L Caw, William McTaggart,1917, p.270

£3,000-5,000


Fine Paintings

58

75 EAA490/2ATTRIBUTED TO SIR JOHNWATSON GORDONTHREE QUARTER LENGTHPORTRAIT OF JANEMCARTHUR MOIROil on canvas

127cm x 101.5cm (50in x 40in)

£1,200-1,800

76 EAC99/6JOSEPH HENDERSON R.S.W.(SCOTTISH 1832-1908)PICNIC BY THE SEASigned, oil on canvas


£2,000-3,000


Fine Paintings

59

77 EAB393A/13JAMES KAY R.S.A., R.S.W.(SCOTTISH 1858-1942)THE TAIL OF THE BANK BYNIGHTSigned, gouache

18.5cm x 26cm (7.5in x 10..25in)


£400-600


Fine Paintings

60

78 EAB393A/6JAMES KAY R.S.A., R.S.W.(SCOTTISH 1858-1942)JAMES WATT WHARFSigned, gouache

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


£800-1,200

79 EAA449/5JOSHUA ANDERSON HAGUE(BRITISH 1850-1916)GATHERING SEAWEEDSigned, oil on canvas


£1,500-2,000


Fine Paintings

61

80 LB392/1WILLIAM BROMLEYGATHERING CHRISTMASHOLLYSigned and dated 1856, oil onpanel

19.5cm x 14.4cm (7.75in x 5.75in)

£1,500-2,000


Fine Paintings

62

81 LB374/3HENRI DE BEUL(BELGIAN 1845-1900)THE YOUNG FARM GIRLSigned and dated 1872, oil onpanel


£600-800

82 EAA485/1ROBERT DUDDINGSTONEHERDMAN A.R.S.A.(SCOTTISH 1863-1922)JOY OF SUMMERSigned with a monogram anddated 1906, oil on canvas

112cm x 91cm (44in x 36in)

£6,000-8,000


Fine Paintings

63

83 LB396/2JAMES KAY R.S.A., R.S.W.(SCOTTISH 1858-1942)UNLOADING THE BOATSSigned and dated ‘97,watercolour

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

£600-800


Fine Paintings

64

84 EAC74/4ALBERT GOODWIN R.W.S.(BRITISH 1845-1932)CLOVELLYSigned and inscribed, pastel

25.5cm x 34.5cm (10in x 13.5in)

£300-400

85 EAC155/4ARTHUR MELVILLE A.R.S.A.,R.S.W., A.R.S.(SCOTTISH 1855-1904)BARGES ON THE SEINE ATBERCYSigned, inscribed and dated‘Bercy 1889’, watercolour

36cm x 53cm (14in x 21.5in)

£4,000-6,000


Fine Paintings

65

86 EAC99/1JOSEPH HENDERSON R.S.W.(SCOTTISH 1832-1908)ON THE SEA SHORESigned, oil on canvas


£2,000-3,000


Fine Paintings

66

87 EAA511/1JEAN-BAPTISTE CAMILLECOROT (FRENCH 1796-1875)SOUVENIR D’UN PORTMEDITERANÉENSigned, oil on canvas

36cm x 46.5cm (14.5in x 18.25in)

Note:This painting dates circa 1868-1872This painting has been examinedand authenticated by Martin Dieterleand will be included in hisforthcoming sixth supplement to theCorot catalogue raisonné

£30,000-50,000


Fine Paintings

67

88 EAC39/2TOM SCOTT R.S.A.(SCOTTISH 1854-1927)HOWDEN HILL, SELKIRKSigned and inscribed, datedon a label verso ‘November1915’, watercolour

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

£800-1,200


Fine Paintings

68

89 EAC39/1TOM SCOTT R.S.A.(SCOTTISH 1854-1927)NEWARK CASTLESigned, inscribed and dated1920, grisaille

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

£600-800

90 EAC39/3TOM SCOTT R.S.A.(SCOTTISH 1854-1927)HOMEWARD BOUNDSigned and dated 1919,watercolour

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

£800-1,200


Fine Paintings

69

91 EAA875/4GEORGE CLAUSEN R.A.,R.W.S. (BRITISH 1852-1944)NOON-DAY RESTSigned with initials,watercolour

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

£800-1,200

92 EAA253/1ROBERT JOBLING(BRITISH 1841-1923)STAITHES FISHER CHILDRENSigned, oil on canvas

39cm x 29cm (15.25in x 11.5in)

£1,000-1,500


Fine Paintings

70

93 EAC74/5WILLIAM HENRY HUNT O.M.,R.W.S. (BRITISH 1790-1864)GIRL READINGWatercolour


Provenance:Mangate Gallery

£400-600

94 EAA396A/1BERNARD DE HOOG(DUTCH 1867-1943)THE SEWING LESSONSigned, oil on panel


£1,000-1,500


Fine Paintings

71

95 EAC154/2CHARLES HODGE MACKIER.S.A., R.S.W.,P.S.S.A.(1862-1920)PORTRAIT OF THE ARTIST’SDAUGHTERSigned, oil on canvas laiddown


£800-1,200

96 EAA289/7D** W** GILL(BRITISH 19TH CENTURY)A STILL LIFE OF ASSORTEDFLOWERS ON A MOSSY BANKInscribed and dated verso‘Manchester 1861’, oil oncanvas, circular

36cm (14in) diam.

£800-1,200


Fine Paintings

72

97 EAA989/18ALEXANDER LEGGATT(SCOTTISH C.1828-1884)LULLABYSigned on artist’s label onstretcher, oil on canvas

50cm x 60cm (19.75in x 23.5in)

£700-900

98 EAC143/42THOMAS FRANCIS DICKSEE(BRITISH 1819-1895)KATE FROM THE TAMING OFTHE SHREWSigned and dated 1852, oil oncanvas


£7,000-9,000


Fine Paintings

73

99 EAC99/17GEORGE EDWARD LODGE(BRITISH 1860-1954)GROUSE ON A ROCKYOUTCROPSigned, watercolour

28cm x 42cm (11in x 16.5in)

£1,500-2,000


Fine Paintings

74

100 EW282/17ARCHIBALD THORBURN(BRITISH 1860-1935)BLACKBIRDSigned and dated 1917,watercolour

19cm x 28cm (7.5in x 11in)

£4,000-6,000

101 LB348/47THOMAS BUSH HARDY R.B.A. (BRITISH 1842-1897)HAY BARGES OFF THE TOWER (ST PAUL’S IN THEDISTANCE)Signed, inscribed and dated 1896, watercolour

22cm x 70cm (8.75in x 27.5in)

£1,500-2,000


Fine Paintings

75

102 EAC99/3WALLER HUGH PATONR.S.A., R.S.W.(SCOTTISH 1828-1895)DULLATERSigned, inscribed and dated11th August 1876,watercolour, arched top

34cm x 52cm (13.25in x 20.5in)

£1,000-1,500

103 EAC163/1DAVID FARQUHARSONA.R.A., A.R.S.A., R.S.W., R.O.I.(SCOTTISH 1840-1907)DUNBLANE CATHEDRALFROM THE RIVERSigned, inscribed and dated1881, oil on canvas


£2,000-3,000


Fine Paintings

76

104 EAC154/3WILLIAM WATT MILNE(SCOTTISH fl. 1888-1915)THE FISHERGIRLSigned, oil on canvas


£1,500-2,000

105 EAA875/6ROBERT WEIR ALLAN R.S.A.,R.W.S., R.S.W.(SCOTTISH 1852-1942)HARVEST-TIME SKYESigned and indistinctly dated,oil on panel

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

£600-800


Fine Paintings

77

106 LB396/1GEORGE HOUSTONHAYSTACKS, DALRY,AYRSHIRESigned, oil on canvas

44.5cm x 59cm (17.5in x 23.25in)

Provenance:Ian MacNicol, Glasgow

£2,000-3,000

107 EAC169/3WILLIAM HARDIE HAY(BRITISH 1859-1934)THE CHILDREN’S PARADISESigned, oil on canvas


£1,500-2,000


Fine Paintings

78

108 EAC99/8WILLIAM BRADLEY LAMONDR.B.A. (SCOTTISH 1857-1924)THE FISHING FLEET AT SEASigned, oil on canvas


£1,000-1,500

109 EAA420/12GEORGE HENRY R.A., R.S.A.,R.S.W. (SCOTTISH 1858-1943)IN THE PARKSigned and dated 1938, oil oncanvas

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

£6,000-8,000


Fine Paintings

79

110 EAA875/2WILLIAM STEWARTMCGEORGE R.S.A.(SCOTTISH 1861-1931)A GALLOWAY IDYLLSigned, inscribed and dated‘To Mrs Spence, June 1905’verso, oil on canvas


£3,000-5,000


Fine Paintings

80

111 EAA449/4JOSHUA ANDERSON HAGUE(BRITISH 1850-1916)BY THE MILL-STREAMSigned, oil on canvas


Exhibited:Manchester, Memorial Exhibition ofWorks of the Late Anderson Hague,1919

£1,500-2,000

112 EZ338/17EDWARD ATKINSON HORNEL(SCOTTISH 1864-1933)BRIGHOUSE BAYSigned and dated 1917, oil oncanvas


£7,000-10,000


Fine Paintings

81

113 EAC99/4STANLEY CURSITER C.B.E.,R.S.A., R.S.W.(SCOTTISH 1887-1976)OFF A ROCKY COASTSigned and dated 1912,watercolour

53.5cm x 74cm (21in x 29in)

£2,000-3,000


Fine Paintings

82

114 EAC43/4JAMES PATERSON R.S.A.,R.S.W., R.W.S.(SCOTTISH 1854-1932)COWS GRAZINGSigned, watercolour

24cm x 31cm (9.5in x 12in)

Provenance:The artist’s family

£500-700

115 EAA544/1STANLEY CURSITER C.B.E.,R.S.A., R.S.W.(SCOTTISH 1887-1976)CASSISSigned and dated 1920,watercolour

34.5cm x 49.5cm (13.5in x 19.5in)

£3,000-5,000


Fine Paintings

83

116 EAB90/4MASON HUNTER A.R.S.A.,R.S.W. (SCOTTISH 1854-1921)HARVEST LANDSCAPESigned, oil on canvas


£600-900


Fine Paintings

84

117 EAA875/3JAMES HAMILTONMACKENZIE A.R.S.A., R.S.W.,A.R.E. (SCOTTISH 1875-1926)LEAVING THE FOLDSigned, oil on canvas

63cm x 81.5cm (25in x 32in)

£2,000-3,000

118 EAC99/11WILLIAM MILLER FRAZERR.S.A. (SCOTTISH 1864-1961)SPRING-TIME IN EASTLOTHIANSigned, oil on canvas

38cm x 53.5cm (15in x 21in)

£1,500-2,000


Fine Paintings

85

119 EZ794/25ROBERT BURNS A.R.S.A.(SCOTTISH 1869-1941)STREAM IN GALLOWAYSigned with a monogram anddated ‘90, oil on canvas


£600-800

120 EAC78/1JOE MILNE(SCOTTISH 1857-1911)BY THE MILLSigned, oil on canvas


£800-1,200


Fine Paintings

86

121 EAC99/7EDMUND THORNTONCRAWFORD R.S.A.(SCOTTISH 1806-1885)THE SHIPWRECKSigned, oil on canvas


£1,000-1,500

122 EAC44/1ALFRED DE BREANSKISENIOR (BRITISH 1852-1928)IN GLENFINLAS N.BSigned, signed and inscribedverso, oil on canvas


£3,000-5,000


Fine Paintings

87

123 EAC44/2ALFRED DE BREANSKI JUNIOR(BRITISH19TH/20TH CENTURY)IN GLEN ETIVE N.BSigned, signed and inscribedverso, oil on canvas


£1,500-2,000


Fine Paintings

88

124 EZ338/20ALFRED DE BREANSKISENIOR (BRITISH 1852-1928)THE BLACK POOL, PASS OFGLENCOESigned, oil on canvas

102cm x 152cm (40in x 60in)

£10,000-15,000


Fine Paintings

89

125 EAA420/6STUART PARK(SCOTTISH 1862-1933)THE FLOWER GIRLSigned with a monogram, oilon canvas


£1,000-1,500


Fine Paintings

90

126 EAC99/2KATE WYLIE(SCOTTISH 1877-1941)A STILL LIFE OF ANENOMESSigned, oil on canvas


£1,000-1,500

127 EZ794/23HUGH MUNRO R.G.I.(SCOTTISH 1873-1928)A BUSY GLASGOW STREETSigned, oil on board

59cm x 44.5cm (23.25in x 17.5in)

£1,000-1,500


Fine Paintings

91

128 EAA253/3JOSEPH FARQUHARSON R.A.(SCOTTISH 1846-1935)ROSES IN FINZEANSigned, oil on canvas

45cm x 29cm (17.5in x 11.5in)

£2,000-3,000

129 EAA433/1ROBERT GEMMELLHUTCHISON R.B.A.,R.O.I.,R.S.A., R.S.W.(SCOTTISH 1860-1936)TIRED OUTSigned, watercolour

23cm x 30.5cm (9in x 12in)

£2,000-3,000


Fine Paintings

92

130 EAA289/5KATE CAMERON R.S.W., R.E.(SCOTTISH 1874-1965)STILL LIFE OF ORCHIDSSigned, watercolour

41cm x 52cm (16in x 20.5in)

£600-800

131 EZ338/8JAMES MCINTOSH PATRICKR.S.A., R.O.I., A.R.E., L.L.D.(SCOTTISH 1907-1998)THE ENTRANCE GATESSigned, watercolour

18cm x 38cm (7in x 15cm)

£600-800


Fine Paintings

93

132 EAC99/15HANS HANSEN R.S.W.(SCOTTISH 1853-1947)AFTER THE OPERASigned, watercolour

27cm x 37cm (10.5in x 14.75in)

£1,500-2,000


Fine Paintings

94


Fine Paintings

95

133 EAA266/1DAME LAURA KNIGHT R.A.,R.W.S. (BRITISH 1877-1970)GATHERING SEAWEEDSENNEN COVESigned, oil on canvas.

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

£20,000-30,000

Dame Laura Knight was thefirst woman artist to beawarded the title of DameCommander of the Order ofthe British Empire in 1929 andin 1936 she became the firstwoman elected to the RoyalAcademy. Today she is bestknown for her strikingdepictions of the glamorousLondon ballet, theatre andcircus, painting backstageduring the Diaghilev ballet’sseasons in London and takinglessons at Tillers DancingAcademy in St Martin’s Lanein order to draw there. Shealso travelled with the Millsand Carmos Circus. Anaccomplished portrait painter,she painted wartimecommissions and was theofficial artist at theNuremberg War-Crime Trials.Knight’s roots however liefirmly in the Naturalisttradition of landscape andgenre painting, which she firstencountered at art school .Whilst studying at NottinghamSchool of Art, she saw anexhibition at the NottinghamCastle Museum, whichincluded work by Newlyn, StIves and Falmouth artists. Shelater recalled that

‘my favourite picture wasFrank Bramley’s HopelessDawn. Tears came into myeyes I thought it sowonderful. There was also alittle grey picture of NewlynBridge by Stanhope Forbes.I did not know anyone couldpaint like that.’

Knight lived and painted in theartist colonies of Staithes inNorth Yorkshire and Newlyn inCornwall, before moving toLondon in 1919. Her timeoutside the capital allowedher to develop her style,reaching maturity during hertime in Cornwall. Her subjectmatter shared the concerns ofthe plein-airist Newlyn,Staithes and Glasgow schoolof painters – to depict theeveryday life of the ruralpopulation, whilst hertechnique was a loosenaturalistic one, with acuteawareness of light, theincreasing use of brightcolour and vigorousbrushwork. This approachwas in sharp contrast to manyof the Academic paintings stillshown at the Royal Academyeach year, often depictingimagined historical ormythological subject matter ina highly finished andclassically modelledtechnique. Artist AlfredThornton, who was secretaryof the New English Art Club,where many Newlyn andGlasgow artists exhibiteddescribed its exhibitions thus:

‘Into a hothouse ofsentimentality in the late‘eighties it blew again thefresh breath of the open air,of the vitality of the thingseen, of reality faced and itsbeauty sought out.’

The present painting perfectlydemonstrates the height of

Knight’s development inCornwall, and is part of aseries of paintings shecomposed between 1915 and1919 all sharing an elevatedviewpoint, dramatic diagonalcomposition, vibrant colourand the subject of ordinarycountry folk’s daily work. Itmost likely shows SennenCove, not far from Land’s Endand Lamorna Cove, whereKnight also liked to paint. Theowner of the land at Lamorna,Colonel Paynter built a smallwooden hut for her on thecliffs in which to store hercanvases and materials and tooffer shelter when theweather was inclement.Knight insisted on painting enplein air and only placed thefinishing touches to her worksin the studio. The bay ispurposefully painted from avery high viewpoint, laying outthe cove below in a dynamicdiagonal composition whichpulls the viewer into thepictorial space and guidesthem around the curve of thelapping water. The strong lightsharply outlines the lines inthe sand, which are picked outfurther by textured impasto.The backbreaking work ofgathering seaweed is setagainst a scene of dramaticnatural beauty, theshimmering waves lappingand the vibrant green on theshore.

134 EAC99/14WILLIAM MILLER FRAZERR.S.A. (SCOTTISH 1864-1961)MOORED FISHING BOATSSigned, oil on canvas

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

£1,200-1,500


Fine Paintings

96

135 EAC175/2WILLIAM STEWARTMCGEORGE R.S.A.(SCOTTISH 1861-1931)WOODCUTTERSSigned with initials, signedand inscribed with title onlabel verso. Oil on canvas


£2,000-3,000

136 LB391/1WILLIAM STRANG R.A.,R.P.E. (SCOTTISH 1859-1921)GOING TO CHURCHSigned, oil on canvas

36cm x 57cm (14in x 22.5in)

£2,000-3,000


Fine Paintings

97

137 EAA575/1DAVID GAULD R.S.A.(SCOTTISH 1865-1936)CALVES IN A STABLEINTERIORSigned, oil on canvas


£2,000-3,000


Fine Paintings

99

138 EAC169/6TOM ROBERTSON R.O.I., R.B.A., R.I. (SCOTTISH 1850-1947)A CRATE OF 11 PAINTINGSSigned, and inscribed with a label verso. Oil on canvas,unframed. Titles include: Silent Night; Killin; The Land of theMountains; Loch Long; Loch Crinan; The River Lochy;Moonlight La Rochelle; Glen Lochy; On the Banks of the Lochy;Fairlie Head, Firth of Clyde


£5,000-7,000


Fine Paintings

100

139 EAC169/7TOM ROBERTSON R.O.I., R.B.A., R.I. (SCOTTISH 1850-1947)A CRATE OF 20 PAINTINGSSigned and inscribed with a label, verso. Oil on canvas, unframed.Titles include: Moonlight, Loch Tay; Moonlight, Killin; Loch Crinan;Moonrise, Crinan Canal; Off the Breton Coast, Finisterre; On theAyrshire Coast; Silvery Moonlight; Moonrise, Auchmore Bridge, Killin;Evening, Loch Linnhe; Off Les Sables d’Olonne, Moonlight; Off Jura;Nocturne, Killin; Killin Bridge; Chill October, Loch Tay; Old ThatchedCottage, Killin; Off Les Sables d’Olonne; A Highland Farmyard;Clearing After Rain, Loch Tay; On the Road to Crinan, Moonrise


£5,000-7,000

140 EZ870/6FERNAND MAILLAUD(FRENCH 1862-1948)HOME FROM THE FIELDSSigned, oil on canvas

54cm x 66cm (21.25in x 26in)

£600-800


Fine Paintings

101

141 EAA516/9FRANZ VON ZÜLOW.(AUSTRIAN 1883–1963)A COUNTRY CHURCHSigned and dated ‘26, oil onboard, unframed

39.5cm x 49.5cm (15.5in x 19.5in)

Note:The attribution to Zülow has beenconfirmed by Professor Fritz Koreny,University of Vienna from aphotograph

£1,000-1,500

142 EAC169/4SIR DAVID YOUNG CAMERONR.A., R.S.A., R.W.S., R.S.W.,R.E. (1865-1945)GANAVANSigned with initials, oil onboard

15cm x 14cm (6in x 9.5in)

£2,000-3,000


Fine Paintings

102

143 EAC155/1JOSEPH CRAWHALL R.S.W.(SCOTTISH 1861-1913)CAMELBronze bas-relief

18.5cm x 21.5cm (7.25in x 8.5in)

Literature:Adrian Bury, Joseph Crawhall theman and artist, 1958, p.242

£800-1,200

144 EAC51/1MARCEL DYF(FRENCH 1899-1985)TROIS PEUPLIERS ÀNEAUPHLESigned, oil on canvas

46cm x 55cm (18in x 21.75in)

Provenance:E. Stacy-Marks Ltd., Eastbourne,where purchased in 1971 for 750guineas

£6,000-8,000


Fine Paintings

103

145 EZ338/12DONALD MCINTYRE(BRITISH 1923-2009)WHISTLEFIELDSigned, oil on board


£1,000-1,500


Fine Paintings

104

146 EAC101/1ALBERTO MORROCCO R.S.A.,R.S.W., R.P., R.G.I., L.L.D.(SCOTTISH 1917-1999)THE BEACH AT FINDHORNSigned and dated ‘76, oil onboard

33cm x 34cm (13in x 13.5in)

Exhibited:Aitken Dott & Son, ChristmasExhibition 1976, no.82

£2,000-3,000

147 EAC64/2WILLIAM MERVYN GLASSR.S.A., S.S.A.(SCOTTISH 1885-1965)COTTAGE BY SUILVEN FROMTHE EASTSigned with initials, oil onboard


£700-900


Fine Paintings

105

148 EAC58/1DAVID MCCLURE R.S.A.,R.S.W., R.G.I. (1926-1999)TOSCANO, SPRING ISigned and dated ‘56,gouache

47cm x 66cm (18.5in x 26in)

£800-1,200


Fine Paintings

106

Gaudier-Brzeska had anastonishingly short workinglife as a sculptor and adraughtsman, producing mostof the body of his work whilstliving in London between 1911and 1913, when he was calledto the Western Front. His rareand precocious talent wasextinguished all too soon, in acharge at Neuville St. Vaast inFrance, in 1915 whenGaudier-Brzeska was justtwenty four. The son of acarpenter, Henri Gaudier wasborn in 1891 in St Jean deBraye, a village near Orleansand the Loire. Hedistinguished himself atschool with his ability to learnlanguages and won twoscholarships, the first for twomonths, the second for twoyears to travel to England tostudy the language andbusiness. He drew constantly,visiting London and theBritish Museum on severaloccasions even then.

After studying in Germany, he

further. The principles andaesthetic of Cubism were re-interpreted by the Futurists inItaly and the Vorticists inEngland. Gaudier-Brzeska’smove to London in 1911 puthim in contact with the latter’sWyndham Lewis andNevinson, providing an artisticmilieu for the artist whocontributed to Lewis’smagazine Blast! Vorticism’sparticular interest in distillingaction by representing it as aforce lent itself to Gaudier-Brzeska’s own aestheticagenda, much more so thanthe Futurists for example whowere far more interested inthe fragmenting andcompartmentalisingmovement.

The human body was aconstant object of interest forthe artist. One of the mostremarkable of his sculptures,the Red Stone Dancer,demonstrates Gaudier’suncanny ability to effortlesslysimplify the geometry of thebody, all the while retainingthe powerful sense of forcelatent in his subject matter.His female figure drawingswere observed from life at anevening sketch class inChelsea, the present lot most

moved to Paris by 1909and his letters reveal hisconscious artisticdevelopment:

‘I have taken a decision – Iam not going to do anymore colour work but willrestrict myself entirely toplastic. I have never beenable to see colour detachedfrom form… the drawingand the modelling were all Ihave been concerned with.’

Gaudier did not undertakeformal art training, insteadpreferring to let his aestheticand technique developthrough constant drawingand sketching everything insight. He was also in Paris ata time of intense artisticdevelopment. It is highly likelythat he saw Picasso’sexhibition of new work atAmbroise Vollard’s gallery inParis in 1909. His drawingsand sculpture show that hehad understood and digestedthe rapid advances of theavant-garde - both Fauvismand Cubism. We see thoseand especially the analyticalapproaches of Cubism and theinterest in non-western artfully employed by Gaudier by1911, successfully pushing theboundaries of representation

likely created in one of thosesittings. Two types ofdrawings emerged from thosesessions, those executed inink and concentrating on alinear representation of form,and those executed incharcoal, like lot 149 whichundertook to present volumein a different way. Brzeskahad significant knowledge ofthe non-Western collectionsof the British Museum andfound abundant material forinspiration and distillation ofhis own ideas ofrepresentation. The model inthe present drawing is bothreminiscent of Greek caryatidfigures and of African tribalcarvings. The directionalshading of the pencilemphasises the primitiveaspects of the line but alsoreveals Gaudier-Bzreska’sunderstanding and interest inPicasso’s experiments ofunderstanding and analysingthe structure of his subjects.The Victoria & Albert Museumholds a group of charcoaldrawings in its collectionwhich are very similar to thepresent lot and probably showthe same model from the lifeclass in Chelsea.

149 EAA449/1HENRI GAUDIER-BRZESKA(FRENCH 1891-1915)STANDING FEMALE NUDECharcoal


£8,000-12,000


Fine Paintings

107

150 EZ338/13JOHN HOUSTON R.S.A.,R.S.W., S.S.A.(SCOTTISH 1930-2008)LANDSCAPE WITHWINDMILL, EVENINGSigned and dated 1962,watercolour


Exhibited:Aitken Dott & Son, FestivalExhibition 1962, no. 21

£600-800


Fine Paintings

108

151 EAA446/1WILLIAM GEAR(SCOTTISH 1915-1997)VERTICAL LANDSCAPESigned and dated ‘48, mixedmedia

48cm x 30cm (19in x 11.75in)

£1,000-1,500

152 EZ338/11MARGARET ROSS HISLOPR.S.A., R.B.A.(SCOTTISH 1894-1972)THE GREEN COMPORTSigned, oil on canvas


£1,000-1,500


Fine Paintings

109

153 EAA416/11JOHN GARDINER CRAWFORDR.S.W. (SCOTTISH b. 1941)LIMEKILNS - MORNINGLIGHTSigned, acrylic on gesso

77cm x 52cm (30.25in x 20.5in)

Exhibited:Royal Society of British Artists,London, 1984

£1,000-1,500


Fine Paintings

110

154 LB390/1SIR WILLIAM GEORGEGILLIES C.B.E., L.L.D., R.S.A.,R.S.W., R.A.(SCOTTISH 1898-1973)PORTRAIT OF THE ARTISTROBERT SCOTT IRVINE, 1925Oil on canvas


Note:This is a very rare portrait by SirWIlliam Gillies from the time whenhe was teaching evening classes atEdinburgh College of Art, long beforehe became Principal of the school. Itdepicts the artist Robert Scott Irvine(1906-1988), then a student in hisfinal year at ECA. The two men wereto become and remain fast friends.Scott Irvine became the youngestmember to be elected to the RoyalScottish Society of Painters inWatercolour at the age of 28 anduntil his death was the oldestsurviving member. Scott-Irvine’sworks are in the collections of theAberdeen Art Gallery, City ofEdinburgh Council, Royal ScottishAcademy, University of Edinburgh,McManus Galleries and Museumand the Scottish Arts Club.

£2,000-3,000

155 EAA416/1JOHN MACLAUCHLAN MILNER.S.A. (SCOTTISH 1886-1957)ROCKY OUTCROP, ARRANOil on canvas


£10,000-15,000


Fine Paintings

111

156 EAA420/27GRAHAM SUTHERLAND O.M.(BRITISH 1903-1980)CICADASigned and dated 1963, oil oncanvas

109cm x 95cm (43in x 37.5in)

£20,000-30,000


Fine Paintings

112

Graham Sutherland is one ofthe most important Britishartists of the 20th century,forging a very individualapproach to painting andciting William Blake, Turnerand Samuel Palmer assignificant influences over hisart. He was firmly situatedwithin the artistic climate ofthe mid-1900s, exhibiting atthe International SurrealistExhibition in London in 1936,remaining firm friends withFrancis Bacon and keeping incontact with Picasso, aftermeeting him in France in thelate 1940s.

Sutherland briefly followed anengineering apprenticeship atthe Midland Railway Works inDerby before pursuing hisinterest in painting andenrolling at GoldsmithsSchool of Art, where hesubsequently taught. Thegreatest early influence onhis work was the Welshcountryside, it figures largelyin his large canvases from the1930s. The subject matterallowed the artist to develop

What is interesting withSutherland is that heintroduced brighter colours tohis post-Second World Warwork and in a senseanticipated his move to theMediterranean. He recallsthat

‘When I did start working inFrance, in 1947, I mustconfess that I did wonderhow I had come toanticipate, by this lighteningof key, the clarity of thesteady southern light.Colour has two majorfunctions. It is form andmood ... it is fascinating tomake complete changes ofcolour in the background ofa painting and see how thewhole atmospherechanges’.

The landscape surroundingthe artist changed from therich, varied and ‘moist’ one ofPembrokeshire, to the aridjuxtapositions of plateau andthe maritime alps of theRiviera. This had the effect ofsimplifying his compositions,away from landscape paintingand towards focusing on asingle, almost ‘still life’ objectagainst an almost minimalistlandscape, as exemplified inthe present canvas.Sutherland would go for long

his tendency to abstractionand anthropomorphism.Earlier still however and veryformative was the time thatSutherland spent with hisfamily in Swanage, Dorset inthe two years before the FirstWorld Way:

‘I got into the habit oflooking at things closely –observing, analysing anddrawing everything in thecountryside’.

This practice played a majorpart in developing the youngartist’s visual imagination andbecame a life-long passion.He continued to pursue hisinterest for intenseobservation right into the laterparts of his career, asexemplified in the presentwork, which dates from 1963and was probably painted inFrance. Sutherland firstvisited the Riviera in 1947,meeting with Matisse andPicasso. He returned to theSouth of France every yearfrom then on and finallybought a house in Menton in1955, where he was to remainand work for the next twentyyears. It is common for artiststo travel to the Mediterraneanand to lighten their palette asa response to the verydifferent light conditions.

walks in the arid and sunbeaten landscape aroundMenton and draw naturalforms he came across,gourds, pomegranates,woven and anthropomorphicroots, thorn bushes and mostpertinently for the currentcomposition – cicadas andmantis. He was particularlyinterested in paintingmagnified images of thelatter, endowing them, likehis tangled roots, with humanqualities. These canvasesfrom the late 1940s haveundeniably informed thepresent painting, which takesthe subject of the creatureand imbues it with bothhuman and machinequalities, in a singlemonolithic form under thelife-giving sun: ‘I love thesun. I like working in thesun….. It is life-giving…[objects] are more alive,more thoroughly andmysteriously themselveswhen I find them in sunlight’.


Fine Paintings

113

157 EAA416/3DENIS PEPLOE R.S.A.(1916-1993)DRUMBUIESigned, oil on canvas


£1,000-1,500


Fine Paintings

114

158 EAA416/9WILLIAM CROZIER A.R.S.A.(SCOTTISH 1897-1930)THE QUARRYSigned, oil on canvas


£800-1,200

159 EAC155/8SIR WILLIAM GEORGEGILLIES C.B.E., L.L.D., R.S.A.,R.S.W., R.A. (1898-1973)BORDER HILLSSigned, oil on canvasboard

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

£4,000-6,000


Fine Paintings

115

160 EZ338/7MARY ARMOUR R.S.A.,R.S.W. (SCOTTISH 1902-2000)ON THE COASTSigned and dated ‘61, oil oncanvas


£800-1,200


Fine Paintings

116

161 EAA459/1JOHN HOUSTON R.S.A.,R.S.W., S.S.A. (1930-2008)HEDGEROW AND WILDFLOWERS, FIFESigned, oil on canvas

58cm x 86.5cm (23in x 34in)

£2,000-3,000

162 EAA416/7SIR WILLIAM MACTAGGARTP.R.S.A., R.A., F.R.S.E., R.S.W.(SCOTTISH 1903-1981)SEASCAPESigned and dated ‘62, oil onboard


Provenance:Stone Gallery, Newcastle 1962

£3,000-5,000


Fine Paintings

117

163 EAA416/12WILLIAM CROZIER A.R.S.A.(SCOTTISH 1897-1930)TREE LINED MOUNTAINPATHSigned, oil on board


£800-1,200


Fine Paintings

118

164 EAA416/14EARL HAIG O.B.E., A.R.S.A.,F.R.S.A. (SCOTTISH 1918-2009)LAUDERDALESigned, oil on canvas

85cm x 110cm (33.5in x 43.5in)

£1,500-2,000

165§ EZ338/1PETER MCLAREN(SCOTTISH b. 1964)THE CYCLISTOil on board

183cm x 122cm (72in x 48in)

£3,000-5,000


Fine Paintings

119

166 EZ338/5SIR ROBIN PHILIPSON R.A.,R.S.A., R.S.W., R.G.I., L.L.D.(SCOTTISH 1916-1992)THRENODYSigned on the stretcher, oil oncanvas


£3,000-5,000


Fine Paintings

120

167 EAC175/1SIR ROBIN PHILIPSONP.R.S.A., R.S.W., R.G.I., L.L.D.(SCOTTISH 1916-1992)SHADOWED POOLPastel


£2,000-3,000

168 EZ338/4SIR ROBIN PHILIPSON R.A.,R.S.A., R.S.W., R.G.I., L.L.D.(SCOTTISH 1916-1992)CATHEDRALSigned, oil on canvas


Exhibited:Browse and Darby, Robin Philipson1993, no.4

Note:This painting dates from 1957

£6,000-8,000


Fine Paintings

121

169§ EAC146/2MARY FEDDEN R.A.(SCOTTISH b. 1915)BLACKBIRD ON A BRANCHSigned and dated ‘09,watercolour

14cm x 20cm (5.5in x 8in)

Note:Sold with a note from the artistconcerning this painting

£1,000-1,500


Fine Paintings

122

170§ EAC146/1MARY FEDDEN R.A.(SCOTTISH b. 1915)BLACKBIRD ON A BRANCHWITH BERRIESSigned and dated ‘08,watercolour

22cm x 24cm (8.75in x 9.5in)

Note:Sold with a note from the artistconcerning this painting

£1,000-1,500

171§ EAC151/1ELIZABETH BLACKADDERO.B.E., R.A., R.S.A., R.S.W.,R.G.I. D.LITT.(SCOTTISH b. 1931)DAHLIAS AND CARNATIONSigned and dated 1981,watercolour


£2,000-3,000


Fine Paintings

123

172 EZ338/15JOHN HOUSTON R.S.A.,R.S.W., S.S.A.(SCOTTISH 1930-2008)TOWARDS SKYESigned and dated 1974,watercolour


Exhibited:Aitken Dott & Son, FestivalExhibition 1975, no.66

£800-1,200

124

Joan Eardley emerges as one of the most important Scottishartists of the twentieth century, maintaining an assertive andunique aesthetic that encompassed a range of subject matter,as exemplified by the group of works by Eardley in this sale(lots 173-177).

Born in Sussex, Joan fled London with her family when thethreat of the Second World War became real. Living in Glasgow,the aspiring artist enrolled at Glasgow School of Art, havingalready spent a term at Goldsmiths’ in south London. She alsostudied at Hospitalfield, under James Cowie, with whom shefrequently clashed over the painting style which was far tooexpressionistic for Cowie who would lecture her on the dangersof gestural expression in painting.

Nevertheless the artist maintained and developed her verypersonal approach to paint application, often embedding

appropriate found objects such as flower heads or wheat in theoil paint, further enhancing the impastoed surface of herpaintings and creating an impression of immediacy andspontaneity.

Eardley’s subject matter covers both the urban and the rural.She is just as celebrated for her depiction of the tenements ofTownhead and its errant dishevelled local children as she is forpainting the wilds of rural Catterline, an East Coast villagewhere she took a cottage in 1954. Lots 173, 175 and 177represent the urban element of her work, from the higgledy-piggledy buildings in Glasgow punctuated with significantcolour and observed with a flowing and economical line ofdrawing, to the children she encountered running riot in alleysaround her studio on Cochrane Street.

Eardley welcomed the local children in her studio, always readywith comics and ‘a piece’ [sandwich]. She would then quicklysketch them whilst they played, or on rare occasions settleddown with their books and food, or just to rest as appears to bethe case in lot 175. Her depiction of childhood is an importantcontribution to that genre as it neither patronises nor burdensher subjects with adult concerns but rather depicts them withan immediacy, compassion and camaraderie that stemmedfrom getting to know them well from day to day and gainingtheir trust and respect. Eardley’s interest in painting thetenement children also stemmed from her desire to synthesisethe essence of the city of Glasgow itself, which she felt theyembodied very well, with their worldly and streetwise attitude.

Eardley had always been interested in communicating the ideaof the ‘primitive’ with her paintings, something which sheachieved through the use of anti-naturalistic, almost Fauve-istcolour, bold and expressive brushstrokes and the refusal tosimply copy nature. Her landscapes go furthest in pursuingthis aesthetic, so much so that many touch on abstraction andtake as their subject matter the painting surface itself, inparticular where Eardley introduces real objects amongst thepaint. By selecting one of the least ‘spoiled’, or modernisedvillages along the north east coast of Scotland to work in, shefound a haven for her landscape painting, from the goldenfields of harvest to the turbulent sea waves and snow nestledamong the cottages. Eardley’s Catterline canvases are bothdescriptive and evocative in their sophisticated use of tone andthus mood. Experimenting with the horizon further allowed herto advance towards abstraction, always stopping short howeveron the figuration side.

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

Joan Eardley at work

PhotographbyAudreyWalkerfromthecollectionatGracefieldArtsCentre,Dumfries


Fine Paintings

125

173 EAC43/3JOAN EARDLEY R.S.A.(SCOTTISH 1921-1963)CHILD’S HEADOil on board

27cm x 27cm (10.5in x 10.5in)

Exhibited:Compass Gallery, Glasgow,Christmas Exhibition 1977, no.67

£8,000-12,000

174 EAC155/6JOAN EARDLEY R.S.A.(SCOTTISH 1921-1963)HAYSTACKSigned, oil on board

58.5cm x 55cm (23in x 21.75in)

and painted verso ‘Summerfield’

£20,000-30,000


Fine Paintings

126


Fine Paintings

127

175 EAB393A/75JOAN EARDLEY R.S.A.(SCOTTISH 1921-1963)PENSIVE BOYOil on canvas

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

Provenance:The artist’s studio, painted c.1954,ref. no. EE21

Exhibited:Stirling University, Joan Eardley,1969, no.8The Scottish Gallery, Joan Eardley,1981, no.21


Note:Jean Gordon Welsh (1930-2009) wasone of the foremost Scottisharchitects of her day. After studyingat Glasgow School of Art, she waselected ARIBA in 1955 and joinedWilliam Nimmo in practice in 1956.William Nimmo & Partners wasoriginally based in Wishaw andmoved to Glasgow in 1969. Heroutput was prodigious and some ofher notable projects include: theRoyal Scottish Academy of Musicand Drama in Glasgow (with LeslieMartin); the Faslane Naval Base;and the restructuring andrefurbishment of Britannic House inLondon for BP’s globalheadquarters, all in the 1980s. Jeanwas awarded the status of Freemanof the City of London and retiredfrom practice in the 1990s.

£30,000-50,000


Fine Paintings

128

176 EAC155/5JOAN EARDLEY R.S.A.(SCOTTISH 1921-1963)CORN SHEAVESOil on board

69cm x 63.5cm (27in x 25in)

and painted verso ‘HarbourCatterline’Provenance:Sotheby’s Gleneagles, 27 August1991

£20,000-30,000

177 LB388/1JOAN EARDLEY R.S.A.(SCOTTISH 1921-1963)TALL SLIM BUILDINGSPastel

13.7cm x 12.6cm (5.5in x 5in)

Provenance:Roland, Browse & Delbanco, 1971

£2,000-3,000


Fine Paintings

129

178 EY891/17JOHN HOUSTON R.S.A.,R.S.W., S.S.A.(SCOTTISH 1930-2008)STILL LIFE WITH POPPYSigned, oil on canvas


£1,000-1,500

179 EAA416/6SIR WILLIAM GEORGEGILLIES C.B.E., L.L.D., R.S.A.,R.S.W., R.A.(SCOTTISH 1898-1973)STILL LIFE WITH LAMPSigned, oil on canvas

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

Exhibited:Aitken Dott & Son, Edinburgh,Festival Exhibition 1958, no.4

£10,000-15,000


Fine Paintings

130

180 EAA416/4SIR WILLIAM GEORGEGILLIES C.B.E., L.L.D., R.S.A.,R.S.W., R.A.(SCOTTISH 1898-1973)MOUNT LOTHIANSigned, oil on canvas

61cm x 113cm (24in x 44.5in)

Exhibited:Art Gallery of HamiltonRoyal Scottish Academy 1953,no.211

£10,000-15,000


Fine Paintings

131

181 EAA446/2WILLIAM GEAR(SCOTTISH 1915-1997)SOUVENIR OF RHODESSigned and dated ‘84, mixedmedia

29cm x 44cm (11.5in x 17.25in)

£800-1,200


Fine Paintings

132

182 EAA446/3DAVID MCCLURE R.S.A.,R.S.W. (SCOTTISH 1926-1998)NUDE - DREAM OF SUMMERSigned and dated ‘63, signedand inscribed verso, oil onboard


£1,200-1,800

183§ EAA449/3JOHN BELLANY R.A.(SCOTTISH b. 1942)WOMAN BY THE SEASigned, oil on canvas


Provenance:Ewan Mundy Fine Art Ltd, Glasgow

£2,000-3,000


Fine Paintings

133

184§ EZ656/2JOHN BELLANY(SCOTTISH b. 1942)EYEMOUTH ROADSTAIDSigned and inscribed, oil oncanvas, unframed

91cm x 121cm (35.75in x 47.5in)

£2,000-3,000


Fine Paintings

134

185§ EZ656/3JOHN BELLANY(SCOTTISH b. 1942)‘NEATH SUILVENSigned and inscribed, oil oncanvas, unframed

91cm x 121cm (35.75in x 47.5in)

£2,000-3,000

186§ EAB551/1LEON MORROCCO(SCOTTISH b. 1942)A STILL LIFE OF FRUITFLOWERS AND PHEASANTSigned and dated 1989/90,pastel

150cm x 100cm (59in x 39.75cm)

£3,000-5,000


Fine Paintings

135

187§ EAA502/1JAMES MORRISON R.S.A.,R.S.W., L.L.D.(SCOTTISH b. 1932)WAVE, NORTH SEASigned and dated 1979, oil onboard

76cm x 109cm (30in x 43in)

Provenance:Thackeray Gallery, London

£2,000-3,000


Fine Paintings

136

188§ EAC155/7JAMES MORRISON R.S.A.,R.S.W. L.L.D.(SCOTTISH b. 1932)EVENINGSigned and dated 1978, oil onboard


Provenance:Compass Gallery, Glasgow,13/12/1978

£1,000-1,500

189 EZ338/3SIR ROBIN PHILIPSON R.A.,R.S.A., R.S.W., R.G.I., L.L.D.(SCOTTISH 1916-1992)POPPIES AGAINST ANUNFINISHED PAINTINGSigned, inscribed and dated1987/88 verso, oil on board

101.5cm x 101.5cm (40in x 40in)

£30,000-50,000


Fine Paintings

137

190 EAB90/1GEORGE LESLIE HUNTER(SCOTTISH 1877-1931)STILL LIFE WITH SILVERTEAPOTSigned, oil on canvas

68.5cm x 56cm (27in x 22in)

£40,000-60,000

138

George Leslie Hunter wasborn on the Isle of Bute off thewest coast of Scotland in 1877and emigrated to SanFrancisco with his family in1892. He did not undertakeformal art training, and waslargely self-taught, workingas an illustrator to supporthimself financially anddevelop his drawings andpainting skills. He wasevidently aware of the rapiddevelopments in art underwayin the French capital at thebeginning of the twentiethcentury and was able to travelto and stay in Paris for thefirst time in 1904. The first ofmany trips to France, thisparticular visit seems to haveformulated his intention tobecome an artist as hemaintained both hisillustrating job and hispainting when he returned toCalifornia and subsequentlymoved back to Scotland in1907.

Still life was by far the mostpopular of subject matters forthe artist, almost exclusivelyoccupying him in his earlycareer. It is a convenientgenre to work on as it can beexecuted in the studio on afairly small scale, giving theartist larger degrees ofcontrol over his compositionand more opportunity toexperiment, unlike painting amodel or a pre-composedlandscape for example.Cézanne famously stated in

his conversations withMichael Doran that all theobjects of his compositionsbecame spheres, cylindersand cones and are moveable,so the artist would have easilybeen able to experiment witha variety of arrangements,light sources andrelationships between thedifferent masses.

Hunter’s early still lifepaintings from 1910 to 1919exhibit his overarchinginterest in the early mastersof the genre, Willem Kalf andJan Davidsz de Heem. Hewould have first seen theirwork in the museums ofGlasgow. S J Peploe, who wasto become a close friend lateron in the artist’s career alsonotably admired the work ofKalf and the later still-lifespecialist Chardin – bringingback stacks of reproductionsof the former’s work from atrip to Holland in 1895. Hunterfirst met Peploe throughmutual friends EdwardArchibald Taylor and his wifeJessie Marion King in Paris in1910 but they did not becomeclose friends until much lateron in the 1920s. Their sharedinterest in the Dutch 17thcentury still life painters wasnot through mutual influencebut nevertheless firmlyinformed both of the artists’early works and undoubtedlynurtured their friendship lateron in their careers. Typical ofHunter’s paintings from the

second decade of the centuryis a plain, often darkbackground, dramaticchiaroscuro and thecombination of both humbleand luxurious objectsassembled on the canvas, notunlike Kalf’s frequentassemblage of both kitchenutensils and crystal andsilverware.

Hunter’s frequent trips toParis whilst living in Scotlandalso meant that he came intocontact with the work ofChardin and most importantlythat of Edouard Manet, whichcertainly informed his paintingtechnique with his broaderand flatter brushstrokeswhich Hunter can be seen touse here.

An introduction to art dealerAlex Reid launched Hunter’scareer. His first solo exhibitionin Glasgow in 1916 was asuccess and placed him incontact with an enclave ofcollectors who would supportthe artist over the next fifteenyears, allowing him to travelmore freely and as a result todevelop his painting further,towards the light palette andeven looser application weobserve in the canvases fromthe 1920s onwards.


Fine Paintings


Fine Paintings

139

191 EAB393A/77GEORGE LESLIE HUNTER(SCOTTISH 1877-1933)ON THE BEACH SOUTH OFFRANCESigned, mixed media



£7,000-10,000


Fine Paintings

140

192 EAC83/1SIR WILLIAM MACTAGGARTP.R.S.A., R.A., R.S.W.(SCOTTISH 1903-1981)STILL LIFE WITH FRUITBOWL AND BANANASSigned, oil on board

50cm x 60cm (19.75in x 23.5in)

£4,000-6,000


Fine Paintings

141

193 EZ338/16JOHN HOUSTON R.S.A.,R.S.W., S.S.A.(SCOTTISH 1930-2008)EVENING SKY OVERCORNFIELDSigned and dated 1972, oil oncanvas

127cm x 152.5cm (50in x 60in)

£4,000-6,000


Fine Paintings

142

194 EZ338/6MARY ARMOUR R.S.A.,R.S.W. (SCOTTISH 1902-2000)TWO CALIFORNIAN POPPIESSigned and dated ‘74, oil oncanvas

53.5cmn x 76cm (21in x 25in)

£4,000-6,000


Fine Paintings

143

195 EZ794/21JOHN HOUSTON R.S.A.,R.S.W., S.S.A.(SCOTTISH 1930-2008)WALKING FIGURESigned, oil on canvas


Exhibited:Aitken Dott, Festival Exhibition 1967,no.33

£1,000-1,500


Fine Paintings

144

196 EZ338/14JOHN HOUSTON R.S.A.,R.S.W., S.S.A.(SCOTTISH 1930-2008)STORM OVER THE SEASigned and dated 1973,watercolour

25.5cm x 25.5cm (10in x 10in)

Exhibited:Aitken Dott & Son, FestivalExhibition 1975, no.89

£500-800

197§ LB370/1JOHN HOYLAND(BRITISH b. 1934)25.9.66Oil on canvas, unframed

183cm x 366cm (72in x 144in)

Exhibited:British Council “Exhibition of YoungBritish Painters”, Palais des BeauxArts, Brussels, 1967

£10,000-15,000


Fine Paintings

145

198 EZ338/2SIR ROBIN PHILIPSON R.A.,R.S.A., R.S.W., R.G.I., L.L.D.(SCOTTISH 1916-1992)FOUNTAINSigned and dated 1957,watercolour


Exhibited:Royal Scottish Society of Painters inWatercolour 1957

£1,000-1,500


Fine Paintings

146

199 EAA490/1SIR ROBIN PHILIPSON R.A.,R.S.A., R.S.W., R.G.I., L.L.D.,D.LITT. (SCOTTISH 1916-1992)HUMANKINDSigned verso, oil on canvas


£3,000-5,000

200§ EAC142/1ETHEL WALKER(SCOTTISH b. 1941)BEACH AT CUNASigned, oil on board

91cm x 122cm (36in x 48in)

£2,500-3,500


Fine Paintings

147

201 EZ338/19JOHN BRATBY R.A.(BRITISH 1928-1992)HOLLY’S HOBBY HORSESigned, oil on board

122cm x 91cm (48in x 36in)

£1,000-1,500


Fine Paintings

148

202 EZ794/24MARY ARMOUR R.S.A., R.S.W.(SCOTTISH 1902-2000)STILL LIFE WITH LEMONSSigned, oil on canvas


£3,000-5,000

203§ EAC177/2ARCHIE FORREST(SCOTTISH b. 1950)STILL LIFE WITH CHERRIESSigned, oil on canvas

61cm x 81.5cm (24in x 32in)

£3,000-5,000


Fine Paintings

149

151

204 EAA416/8FRANCIS CAMPBELLBOILEAU CADELL R.S.A.,R.S.W. (SCOTTISH 1883-1937)MORNING ON THE BACINO,VENICEIndistinctly signed and dated1910, oil on panel

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

£20,000-30,000

Stepping from the labyrinthine streets of Venice into the light-flooded expanse of Piazza San Marco, one’s eyes are dazzled bythe change from soft shade into brilliance, the glitteringmosaics of the Basilica’s façade only slowly focusing into clearnarrative scenes. It is a phenomenon repeated throughout laSerenissima, and one masterfully captured by Cadell in thispainting of 1910. Our gaze is first overcome by the bravurabrush strokes, the fierce red and orange rays of a morning sunover water, and it is only as we lower our eyes that we discernthe darker forms of two gondolas and, emerging across theBacino, Palladio’s masterpiece, the Church of San GiorgioMaggiore. The work, painted early in the artist’s career when,with the patronage of Patrick Ford, he embarked on an artisticpilgrimage with a rich cultural precedent, shows a freshness asengaging and puzzling as that of the city of Venice itself: nomatter how many times she is portrayed on canvas or film, thecity continues to enchant us, appearing at once familiar but alsoas mercurial as light playing across the surface of the lagoon.

A trip to Venice had, for several hundred years, become acentre-piece of the Grand Tour, an integral part of a younggentleman’s personal development, and an artist’s education.While the former might immerse himself in the pleasures ofCarnivale, the latter could observe the Venetian school’schampioning of colour against the Florentine propensity for lineand draughtsmanship. As Tom Hewlett observes, the time hespent in Venice marked something of a turning-point for Cadell:

The effect of Venice on Bunty and his work was dramatic. Thecombination of the vivid Mediterranean colours with thebrilliant sunshine during the day, and the soft warm tones ofevening, provided the ideal inspiration for his naturalcolourist talent.

It is fascinating to note that while the artist was undertakingexercises in colour as modern as those of Monet (who, at 68,had visited the city for the first time two years previously, in

1908, and was retouching similar scenes in his studio at thesame time as the 27 year old Scot was painting in Venice), onthe reverse of the painting we find, almost lost within a blaze ofcolour, the soft forms of nudes quite Renaissance in character,as though even while absent-mindedly testing colours, imagescaptured from the artistic heritage that surrounds one in Venicewere unconsciously coursing through his brush.

The negotiation of colour versus line is a debate that each artistmust resolve at some point in their career, however, and whilethis work of 1910 might show the influence of Monet, by the endof the First World War it was to Cézanne that Cadell’s workowed greater debt. A more structured approach emerges, hisbrushwork more controlled, with geometric form playing asgreat a role as a palette tending towards primary colours. Oneneed only contrast his Interior of the Salute, Venice, of 1910,with 1922’s Interior, Iona Cathedral, to observe thetransformation which has taken place in his work. While in theformer Roman arches and Corinthian columns provide abackdrop, melting into the gold light cast from a chandelier, inthe latter the curve of the arch frames the composition, and thecolumns which punctuate the picture plane provide the work’sdominant motif. Nevertheless, Iona, in the Western Isles, didprove a fresh source of inspiration for Cadell, away from theurbane Edinburgh interiors for which he has perhaps becomemost well known. As Harris and Halsby note:

The stark white sands and the impressive views, togetherwith the dramatically changeable weather conditions, wereideal subjects for Cadell’s style, and these landscapes tend tobe more relaxed and painterly compared with his formalstudio works.

In such works as this, jewel-like in colour yet with themeasuring influence of pattern, Cadell finally transcended adebate waged both within his own work and that of hispredecessors for quite some time.

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


Fine Paintings

152

206 EAB90/2FRANCIS CAMPBELLBOILEAU CADELL R.S.A.,R.S.W. (SCOTTISH 1883-1937)HAYSTACKS, IONASigned, watercolour

17cm x 25.5cm (6.75in x 10in)

£5,000-7,000


Fine Paintings

153

205 EAC155/2FRANCIS CAMPBELLBOILEAU CADELL R.S.A.,R.S.W. (SCOTTISH 1883-1937)MULL FROM IONASigned, signed and inscribedverso, oil on board

38cm x 45cm (15in x 17.75in)

Provenance:G.W. Service EsqPrivate collection

£30,000-50,000

207§ EZ338/18GLEN SCOULLER(SCOTTISH b. 1950)AVENUE DE CEDRES, LAVERDIÈRESigned, oil on canvas

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

£1,500-2,000


Fine Paintings

154

208§ EAC177/1GEORGE DEVLIN R.S.W.(SCOTTISH b. 1937)HEBRIDEAN TWILIGHTSigned, oil on canvas

127cm x 142cm (50in x 56in)

Exhibited:ROI, 2006

£4,000-6,000


Fine Paintings

155

209§ EAC110/1GERARD BURNS(SCOTTISH b. 1961)A NEW JOURNEYSigned, oil on canvas

60cm x 60cm (23.5in x 23.5in)

Note:“A New Journey” by Gerard Burnsfeatures his niece in a scene nearhis home in North Lanarkshire. Thework was commissioned by the RtHon Alex Salmond MP MSP, FirstMinister of Scotland, to use as hisofficial 2009 Christmas card.Proceeds from the sale of thepainting are to be donated to thefollowing four charities: Cross OutChild Poverty, J-A-C-K’s Fund,Mary’s Meals, and CLIC Sargent.

£4,000-6,000


Fine Paintings

156

210§ EZ656/5JOHN BELLANY(SCOTTISH b. 1942)LARGSSigned and inscribed, oil oncanvas, unframed

91cm x 121cm (35.75in x 47.5in)

£2,000-3,000


Fine Paintings

157

211§ EZ656/4JOHN BELLANY(SCOTTISH b. 1942)LA VIE EN ROSESigned and inscribed, oil oncanvas, unframed

91cm x 121cm (35.75in x 47.5in)

£2,000-3,000

212 EAC189/1ALBERTO MORROCCO R.S.A.,R.S.W., R.P., R.G.I., L.L.D.(SCOTTISH 1917-1998)THE JUGGLER’S TABLESigned and inscribed ‘84, oilon board

73.9cm x 69.1cm (29.1in x 27.2in)

£10,000-12,000


Fine Paintings

158

213 EAC189/2ALBERTO MORROCCO R.S.A.,R.S.W., R.P., R.G.I., L.L.D.(SCOTTISH 1917-1998)WOMAN COMBING HER HAIRSigned and dated ‘96, oil onboard

53.1cm x 65cm (20.9in x 25.6in)

£6,000-9,000


Fine Paintings

159

214 EAA547/1ANNE REDPATH O.B.E.,R.S.A., A.R.A., A.R.W.S.,R.O.I., L.L.D.(SCOTTISH 1895-1965)A STILL LIFE OF LILIESSigned, watercolour

25.5cm x 37cm (10in x 14.5in)

£3,000-5,000


Fine Paintings

160

215 EAA313/1WILLIAM JOHNSTONE O.B.E.(SCOTTISH 1897-1981)RED ABSTRACTSigned and dated 1971, oil oncanvas

60.5cm x 73cm (23.75in x 28.75in)

£2,000-3,000

216§ EAC68/1JACK VETTRIANO O.B.E.(SCOTTISH b. 1951)THE GAMBLERSSigned, oil on canvas


Exhibited:The Edinburgh Gallery, JackVettriano, Tales of Love and otherStories, 1992

£12,000-18,000


Fine Paintings

161

217§ EAC68/2JACK VETTRIANO O.B.E.(SCOTTISH b. 1951)LOVE, DEVOTION ANDSURRENDERSigned, oil on canvas


£20,000-30,000


Fine Paintings

162

218§ EAA449/2JACK VETTRIANO O.B.E.(SCOTTISH b. 1951)THE RULES OF THE GAMESigned, oil on canvas


£15,000-20,000

END OF SALE


Fine Paintings

163

164

The following expressionswith their accompanyingexplanations are used by Lyon& Turnbull as standardcataloguing practice. Our useof these expressions does nottake account of the conditionof the lot or the extent of anyrestoration.

Buyers are recommended toinspect the propertythemselves. Written conditionreports are usually availableon request.

Name(s) or Recognised Designation of an Artist without anyQualificationIn our opinion a work by the artist

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

Studio of ... / Workshop of ...In our opinion a work executed in the studio or workshop of theartist, possible under his supervision

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

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

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

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

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

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

Dimensions are given height before width.


Glossary of Cataloguing Terms

165


Index

Alexander, C., 27Alexander, J., 28Allan, R.W., 105Allan, Sir W., manner of, 41Allingham, H., 61

Bellany, J., 183, 184, 185, 210,211

Blackadder, E., 171Bough, S., 72Bromley, W., 5, 80Brooks, M., 60Bunting, T., 11Burns, G., 209Burns, R., 119

Caddell, F.C.B., 204, 205, 206Cameron, K., 130Cameron, Sir D.Y., 19, 142Clausen, G., 91Clayton, H., 59Collins, W., 33 34Corot, J-B.C., 87Crawford, E.T., 121Crawford, J.G., 153Crawhall, J., 143Crome, J.B., 44Crozier, W., 158, 163Cursiter, S., 113, 115

de Beul, H., 81de Breanski, A. Junior, 123de Breanski, A. Senior, 122,124

de Hoog, B., 94de Loutherbourg, P.J., 30Devlin, G., 208Dicksee, T.F., 98Downie, P., 6Dyf, M., 144

Eardley, J., 173-177Etty, W., 43

Faed, T., 51Farquharson, D., 103Farquharson, J., 13, 128

Paton, W.H., 102Patrick, J.M., 131Peake the Elder, R., attributedto, 23

Peploe D., 157Philipson, Sir R., 166, 167,168, 189, 198, 199

Redpath, A., 214Robertson, T., 138, 139

Scott, T., 88, 89, 90Scouller, G., 207Shayer, W.J., 40Sherrin, D., 58Simpson, J., 12Stark, J., 37Strang, W., 136Sutherland, G., 156

Thomson, Rev. J. ofDuddingston, 36, 47, 52

Thorburn, A., 100

Vettriano, J., 216, 217, 218von Zülow, F., 141

Wainwright, J., 56Walbourn, E., 54, 57Walker, E., 200Ward, J., 42West, D., 5Wilson, R., 32Wingate, Sir J. L., 2, 9Wolstenholme, D., attributedto, 35

Wylie, K., 126

Johnstone, W., 215Jones, P., 48

Kay, J., 16, 70, 77, 78, 83Kennedy, C., 64Kneller, Sir G., studio of, 25Knight, Dame L., 133

Lamond, W.B., 108Lauder, C.J., 18Lauder, J.E., 49Leggatt, A., 97Lely, Sir P., follower of, 26Lodge, G.E., 99

Mackenzie, J.H., 117Mackie, C.H., 95MacNee, R.R., 4MacTaggart, Sir W., 162, 192McClure, D., 148, 182McGeorge, W.S., 14, 110, 135McGhie, J., 73McIntyre, D., 145McKay, W.D., 21McLaren, P., 165McTaggart, W., 71, 74Mellor, W., 67Melville, A., 85Millaud, F., 140Milne, J., 17, 120Milne, J.M., 155Milne, W.W., 15, 104Morrison, J., 187, 188Morrocco, A., 146, 212, 213Morrocco, L., 186Munro, H., 8, 127

Nasmyth, C., 46Nasmyth, P., 38Nicol, E., 22

Oakley, O., 65Oppenheimer, C., 1

Park, S., 125Pasmore, D., 68Paterson, J., 114

Fedden, M., 169, 170Forrest, A., 203Frazer, W.M., 10, 20, 118, 134

Gaudier-Brzeska, H., 149Gauld, D., 137Gear, W., 151, 181Gill, D.W., 96Gillies, Sir W.G., 154, 159, 179,180

Glass, W.M., 147Glendenning, A.A., 53, 55, 63,66

Goodwin, A., 84Gordon, Sir J.W., attributed to,75

Hague, J.A., 79, 111Haig, E., 164Hansen, H., 132Hardy, H., 62Hardy, T.B., 101Hay, W.H., 107Hayls, J., 24Hayls, J., attributed to, 29Hemy, T.M.M., 7Henderson, J., 76, 86Henderson, J.M., 3Henry, G., 109Herdman, R., 39Herdman, R.D., 82Hill, D.O., 45Hillingford, R.A., 69Hislop, M.R., 152Hornel, E.A., 112Houston, G., 106Houston, J., 150, 161, 172,178, 193, 195, 196

Hoyland, J., 197Hunt, W.H., 93Hunter, G.L., 190, 191Hunter, M., 116Hutchison, R.G., 129

Ibbetson, J.C., 31

Jobling, R., 92

Fine Jewellery and SilverTuesday 30th November, 201033 Broughton Place, Edinburgh EH1 3RR

www.lyonandturnbull .com

Adiamond and carved sapphire setdelphinium spray

8cm long by 6cm wide

£2,000-3,000

Viewing timesFriday 26th November 10am - 5pmSaturday 27th November 10am - 4pmSunday 28th November 2pm - 5pmMonday 29th November 10am - 5pmMorning of Sale from 9am

EnquiriesTrevor Kyle or Colin FraserTel: +44 (0)131 557 8844E-mail:[email protected]

Upcoming

www . f r e em a n s a u c t i o n . c om

Fine American & European Paintings& Sculpture 12/05/10

FREEMAN’S1808 Chestnut Street

Philadelphia, PA 19103

Telephone: 215.563.9275

Fax: 215.563.8236

www.freemansauction.com

126 Garrett Street

Charlottesville, VA 22902

Telephone: 434.296.4096

Fax: 434.296.4011

www.freemanssouth.com

HUBERT ROBERTfrench ( 1733-1808)"LES DEUX AMIES"Signed and dated '1780/H.Robert' on

the balustrade, bottom right; and

"LA JEUNE DESSINATRICE"signed and dated 'H. Robert/1780' on

the pedestal, bottom center left.

Each oil on copper, a pair (2)

36 x 29 in. (91 x 73cm)

$300,000-500,000(£200,000-330,000)

AuctionSunday December 5th at 2pm

Exhibitions:Thursday, December 2nd &Friday, December 3rd10am-5pmSaturday, December 4thNoon-5pm

Inquiries:alasdair nicholdirect tel: [email protected]

david weissdirect tel: [email protected]

maya o’donnell-shahdirect tel: [email protected]

Catalogue $35

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.

PP

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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. 2010. 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

11-12 Pall Mall, LondonSW1Y 5LUTel +44 (0)20 7930 9115Fax +44 (0)20 7930 9629

Fine Paintings sale catalogue for Lyon & Turnbull

Documents

Transcript of Fine Paintings sale catalogue for Lyon & Turnbull