The Winter Paintings Sale
Thursday 28th November 201333 Broughton PlaceEdinburgh
Catalogue: £10
BUYER’S PREMIUM25% up to £25,00020% thereafter.VAT will be charged on the premiumat the rate imposed by law.†20% VAT chargeable on the lot itself*5% import VAT on the lot§Droit de Suite (artist’s resale rights)applies(see our Terms and Conditions of Saleand Information for Buyers).
ENQUIRIES AND COMMISSION BIDSLyon and Turnbull Ltd.33 Broughton PlaceEdinburgh EH1 3RRTel. 0131 557 8844Fax. 0131 557 8668email. [email protected]
The Winter Paintings SaleincludingThe Collection of the late Dr. Renate Davis
Thursday, 28th November, 2013at 6pm
Sale Number LT389
ViewingSunday, 24th November 2pm - 5pmMonday, 25th November 10am - 5pmTuesday, 26th November 10am - 5pmWednesday, 27th November 10am - 5pmThursday, 28th November 10am - 1pm
SpecialistsNick [email protected]
Emily [email protected]
Charlotte [email protected]
Premium LotsPlease note that we may, at our option, ask anyone wishingto bid on selected high value lots to provide a bank referenceand/or a deposit as part of the registration process.
For more information on bidding please see Importantinformation for Buyers or contact us on 0131 557 8844 /email [email protected]
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Important informationfor buyers
discretion and at the bidder’s risk.All telephone bids must beconfirmed in writing, listing therelevant lots and appropriatenumber 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. All bidrequests must be received an hourbefore the sale.
Methods of PaymentGoods purchased will not bereleased until we have received fullpayment.
Bank TransferPlease find details in any emailinvoice we issue or upon requestfrom our accounts department.
CashCash payments can be made at theaccounts desk during or after a sale.
Credit or Debit CardsPayment can be made by Visa Debit,Maestro, Mastercard or Visa Creditcards. Please note there is a 2%surcharge on credit card paymentsand we do not accept Amex..
Online PaymentsWe no longer accept card paymentsby phone, please use our onlinepayment service (powered byWorldpay). You will find a link to thisservice in any email invoice issue oryou can visit the payments section ofour website.
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.
CollectionIt is the buyer’s responsibility toascertain collection procedures,particularly if the sale is not beingheld at our main saleroom.
1 – Government issued photo ID(Passport/ Driving licence)
2 – Proof of address (utility bill/ bankstatement)
You may present these documents inperson or, alternatively, fax or emailcopies to us. We may, at our option,also ask you to provide a bankreference and/ or deposit.
We reserve the right to rejectregistration applicants at ourdiscretion.”
At the SalePotential buyers must register andcollect 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/or 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. Allbids must be received an hourbefore the sale. This service entirelyat the bidder’s risk.
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 on lots with an estimate of£300 and over, entirely at our
hammer price is less than €1,000(euros). The charge for works of artsold at and above €1,000 (euros) andbelow €50,000 (euros) is 4%. Foritems selling above €50,000 (euros),charges are calculated on a slidingscale.All royalty charges are paid to theappropriate collecting organisationand no handling costs or additionalfees are retained by the auctioneer.Resale royalties are not subject toVAT.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.uk
Damage and RestorationOccasionally, when a lot hassuffered extensive damage and/orrestoration it is indicated in thecatalogue. This is mentioned entirelyat our discretion for the benefit ofbuyers. Where there is no mentionof damage 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).
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.
BiddingPlease note that all first timebidder’s at Lyon & Turnbull will beasked to supply the followingdocuments in order to facilitateregistration:
Buying at AuctionThis sale is subject to our standardTerms and Conditions of Sale. Ifyou have not bought at auctionbefore we will be delighted to adviseyou.
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 PremiumThe buyer shall pay the hammerprice together with a premiumthereon.
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.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. We are required tocollect a royalty payment for allqualifying works of art. Under newlegislation which came into effect on1st January 2012, this applies toliving artists and artists who havedied in the last 70 years.This royalty will be charged to thebuyer on the hammer price and inaddition to the buyer’s premium. Itwill not apply to works where the
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1 FG600/20THOMAS DUDGEON(SCOTTISH fl. 1831-1878)VIEW OF THE CLYDEESTUARY AND DUMBARTONROCKSigned and dated 1878, oil oncanvas
31cm x 46cm (12in x 16in)
£800-1,200
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2 FG596/17DAVID FARQUHARSONA.R.A., A.R.S.A., R.S.W., R.O.I.(SCOTTISH 1840-1907)GORSE AND MAYSigned and dated ‘04, oil oncanvas
31cm x 51cm (12in x 20in)
£600-900
3 FF654/3JOHN HENDERSON(SCOTTISH 1860-1924)PICNIC BY THE RIVERSigned, oil on panel
18cm x 25.5cm (7in x 10in)
£1,000-1,500
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4 FG325/9WILLIAM ALFRED GIBSON(SCOTTISH 1866-1931)THE CLOUDSigned, oil on canvas
41cm x 51cm (16in x 20in)
£800-1,200
5 FF783/1HENRY THOMAS DAWSON(BRITISH 19TH CENTURY)ROTTERDAMSigned with a monogram anddated ‘Jan. 1878’, oil oncanvas
51cm x 76cm (20in x 30in)
£1,500-2,000
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6 FF654/20JOHN MACWHIRTER R.A.,H.R.S.A., R.I., R.E.(SCOTTISH 1839-1911)A HIGHLAND GLEN,INVERNESS-SHIRESigned with a monogram, oilon canvas
76cm x 51cm (30in x 20in)
£1,000-1,500
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7 FF691/1JAMES FAED JNR(SCOTTISH 1856-1920)IN A HILL GLENSigned, oil on panel
32cm x 25.5cm (12in x 10in)
£1,000-1,500
8 FF654/16LOUIS BOSWORTH HURT(BRITISH 1856-1929)CATTLE WATERING IN AMOUNTAIN LOCHSigned and dated ‘94, oil oncanvas
33cm x 49cm (13in x 19in)
£3,000-5,000
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9 FF449/1WILLIAM MCTAGGART R.S.A.,R.S.W. (SCOTTISH 1835-1910)‘TIS A TOUCH OF A FAIRYTHAT WAKES THE SPRING OFTHE NORTHERN LANDSigned and dated 1886, penciland watercolour
25.5cm x 35.5cm (10in x 14in)
Provenance:McTaggart Watercolour Sale,Dowell’s 23rd March 1889Mrs Otto Leyde
Literature:James Caw, William McTaggart1917, p.256
£2,000-3,000
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10 FF654/17WALLER HUGH PATONR.S.A., R.S.W.(SCOTTISH 1825-1895)PAST THE POINTSigned and dated 26th July1878, watercolour heightenedwith bodycolour
24cm x 34.5cm (9.5in x 13.5in)
£500-700
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11§ FG66/2ROBERT RUSSELL MACNEER.G.I. (SCOTTISH 1880-1951)CHICKENS IN A FARM YARDSigned, oil on board
24cm x 29cm (9.5in x 11.5in)
£800-1,200
12§ FF833/1STANLEY CURSITER C.B.E.,R.S.A., R.S.W.(SCOTTISH 1887-1976)THE FISHERMANSigned and dated 1912, oil onboard
25.5cm x 35.5cm (10in x 14in)
£1,500-2,000
13 FF783/2THOMAS CRESWICK R.A.(BRITISH 1811-1869)MENDING EELPOTSOil on panel
29cm x 38cm (11.5in x 15in)
and a companion a pair ‘Riverlandscape with river andbridge’ (2)
Exhibited:Midland Counties Art Museum,Nottingham
Provenance:G.B.Davey
£1,500-2,000
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14 FF922/1ARCHIBALD KAY R.S.A.,R.S.W. (SCOTTISH 1860-1935)THE PEARL FISHER’S CAMPSigned, oil on canvas
94cm x 154cm (37in x 60.5in)
Exhibited:Royal Scottish Academy 1916,no. 162.
£3,000-5,000
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15 FF826/1ATTRIBUTED TO JOHNWILSON EWBANK R.S.A.(SCOTTISH 1779-1847)SAILING VESSELS IN CALMSEASOil on panel
27cm x 61cm (10.5in x 24in)
£1,000-1,500
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16 FF733/1ÉDOUARD ADAM(FRENCH 1847-1929)THE S.S. INNGREEN INHEAVY SEASSigned, inscribed ‘Havre’ anddated 1882, oil on canvas
61cm x 91cm (24in x 36in)
£1,500-2,000
17 FF923/22EDWARD THORNTONCRAWFORD R.S.A.(SCOTTISH 1806-1885)THE ARRIVAL OF THE FLEETBears inscription on labelverso, oil on canvas
30.5cm x 51cm (12in x 20in)
£1,500-2,000
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18 FF733/2ÉDOUARD ADAM(FRENCH 1847-1929)THE S.S. ARGOSY IN HEAVYSEASSigned, inscribed ‘Fils’ anddated 1890, oil on canvas
61cm x 91cm (24in x 36in)
£1,500-2,000
19 FG581/1ATTRIBUTED TO CHARLESMARTIN POWELL(BRITISH 1775-1824)FISHING BOATS BECALMEDOil on canvas laid down
11.5cm x 18cm (4.5in x 7in)
and a companion a pair (2)
£600-800
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20 FF736/119TH CENTURY CHINESESCHOOLPORTRAIT OF THE S.S EARNOFF HONG KONGInscribed and dated ‘Cap.Anderson, Hong Kong 1887,remains of trade label verso,oil on canvas, unframed
65cm x 89cm (25.5in x 35in)
Provenance:Captain Anderson was the uncle ofthe current owner’s grandmother
£3,000-5,000
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21 FG305/6CIRCLE OF EGBERT VAN DERPOELFIGURES ON A CANALSIDEOil on panel
71cm x 104cm (28in x 41in)
Provenance:Quiddenham Hall, Norfolk, Earls ofAlbermarle acquired by the motherof the late owner.
£1,500-2,500
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22 FG587/2CIRCLE OF RICHARD WILSONA CLASSICAL LANDSCAPEWITH FIGURES AND DISTANTRUINSOil on canvas
61cm x 74cm (24in x 29in)
£1,500-2,500
23 FG600/19AERNOUT SMIT(DUTCH 1641-1710)THE MORNING GUNSigned and dated, oil oncanvas
46cm x 56cm (18in x 22in)
£3,000-5,000
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24 FD682/1FOLLOWER OF ORAZIO GREVENBROECK(FRENCH 1670-1730)A CAPRICCIO SCENE WITH BOATS ENTERINGA HARBOUR PAST RUINED COLONNADEOil on copper, circular
13cm (5in) diameter)
and a companion a pair similar (2)
£1,500-2,500
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25 FF72/70JOACHIM VON SANDRART THE ELDER(GERMAN 1606-1688)PORTRAIT OF A YOUNG MANSigned with a monogram, inscribed anddated 1652, oil on copper, oval
12cm x 10cm (4.75in x 4in)
Provenance:Alfred Brod, London October 1961The Estate of Dr Renate Davis Deceased
£1,000-1,500
26 FG587/4ATTRIBUTED TO JACQUES DELAJOUE(FRENCH 1687-1761)VENUS DESCENDINGOil on canvas
99cm x 130cm (39in x 51.25in)
£3,000-5,000
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27 FG587/1MANNER OF WILLIAMMARLOWA WOODED RIVERLANDSCAPE WITHFISHERMENOil on canvas
55cm x 79cm (21.5in x 31in)
£1,500-2,500
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28 FG587/3ATTRIBUTED TO JAN FRANSVAN BLOEMEN(FLEMISH 1662-1749)A WOODED CLASSICALLANDSCAPE WITH FIGURESON A PATHOil on canvas
74cm x 99cm (29in x 39in)
£2,000-3,000
29 FF72/100ATTRIBUTED TO DIRK HALS(DUTCH 1591-1656)A CONVIVIAL PARTYOil on panel
29.5cm x 38cm (11.5in x 15in)
Provenance:The Estate of Dr. Renate DavisDeceased.
£6,000-8,000
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30 FG328/6CIRCLE OF JOHAN JOSEPHZOFFANYFULL LENGTH PORTRAIT OFSIR WILLIAM YOUNG,GOVERNOR OF ST.DOMENICAOil on canvas, with label verso‘The collection of Capt. YoungOttley’
76cm x 63cm (30in x 25in)
£3,000-5,000
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31 FF923/119TH CENTURY BRITISHSCHOOLTHREE-QUARTER LENGTHPORTRAIT OF A SCOTTISHYEOMANRY OFFICEROil on canvas
127cm x 96.5cm (50in x 38in)
£600-800
32 FC932/1ALLAN RAMSAY(SCOTTISH 1713-1784)PORTRAIT OF THOMASSHAIRP, 5TH LAIRD OFHOUSTON (d. 1772)Signed and dated 1750 bottomright, oil on canvas
76.25cm x 63.5cm (30in x 25in)
Provenance:By family descent to John Shairp(d.1940); Doig, Wilson and Wheatley,Edinburgh; bt. Captain Pringle ofHouston; Ian G. Lindsay and thenceby descent
£10,000-15,000
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Thomas Shairp, the FifthLaird of Houston, a friend ofRamsay's, commissioned theartist to paint five portraits ofhimself and his family in1750. Shairp, who hadmarried his cousin Janetsometime before 1723, theirson Thomas, daughter Janetand Thomas' wife Anne weresent the portraits uponcompletion by Ramsay in hisLondon studio later that year.His daughter Janet's portraitnow hangs in the collection ofAberdeen Art Gallery and hisson Thomas' in the EdinburghCity Art Centre. The twofurther portraits have found ahome in private collections.
Ramsay was arguably at thepeak of his career by thisperiod. This portrait of Shairpeffectively demonstrates thestylistic elements which setRamsay's work above that ofhis peers. Following Frenchtrends, Ramsay favouredmore naturalistic and lessartificial compositions. This is
the reason Ramsay's portraitsare always such fascinatingand lively character studies,the sitter engaging with theviewer with a directness thatwas rare in British portraitureup to this point.
Consequent to this, Ramsay'smost successful works werearguably portraits of those
close to him. Indeed AlastairSmart, one of Ramsay's chiefscholars, described theShairp portrait series asbeing “among Ramsay's mostsensitive things” (p.57, TheLife and Art of Allan Ramsay,by Alistair Smart, 1952).
33 FF654/2SIR GEORGE REID P.R.S.A.,H.R.S.W., L.L.D.(SCOTTISH 1841-1913)WHITE STILL LIFESigned with a monogram, oilon canvas
51cm x 28cm (20in x 11in)
£2,000-3,000
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34 FG466/1WILLEM JOHANNESWEISSENBRUCH(DUTCH 1864-1941)A STILL LIFE OF AUTUMNFLOWERSSigned, oil on board
61cm x 43.5cm (24in x 17in)
£1,500-2,000
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35 FF732/1ROBERT HERDMAN R.S.A.,R.S.W. (SCOTTISH 1829-1888)FAVOURITE PETSSigned with initials and dated1856, oil on canvas, archedtop
102cm x 76cm (40in x 30in)
£3,000-5,000
36 FG339/1JAMES PATERSON P.R.S.W.,R.S.A., R.W.S.(SCOTTISH 1854-1932)RICHMOND, YORKSHIREFROM HUDSWELLSigned, signed and inscribedverso, oil on canvas
63cm x 76cm (25in x 30in)
£2,000-3,000
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37 FF654/4GEORGE SMITH R.S.A.(SCOTTISH 1870-1934)THE TIMBER WAGONSigned, oil on board
31cm x 41cm (12in x 16in)
£700-1,000
38§ FF654/13GEORGE HOUSTON R.S.A.,R.S.W., R.I.(SCOTTISH 1869-1947)ON THE BANKS OF THELOCHSigned, oil on canvas
46cm x 61cm (18in x 24in)
£600-800
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39 FF922/23JOHN A. HENDERSONTARBET(SCOTTISH 1864-1937)SPRING’S AWAKENINGSigned, oil on canvas
102cm x 127cm (40in x 50in)
£1,200-1,800
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40 FF888/1JOHN ROBERTSON REID R.I.,R.B.A., R.O.I.(SCOTTISH 1851-1926)RETURN OF THE FLEET,MACDUFFSigned and dated ‘86, oil oncanvas
56cm x 84cm (22in x 33in)
£2,000-3,000
41 FF32/1ROBERT HOPE R.S.A.(SCOTTISH 1869-1936)THE VILLAGE GREENSigned, oil on canvas
51cm x 61cm (20in x 24in)
£1,500-2,500
43 FF411/2WILLIAM ALFRED GIBSON(SCOTTISH 1866-1931)QUIET WATERSigned, indistinctly inscribedand dated 1-1-1919, oil onboard
24cm x 32cm (9.5in x 12.5in)
£800-1,200
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44 FF654/5DAVID FARQHARSON A.R.A.,A.R.S.A., R.S.W., R.O.I.(SCOTTISH 1840-1907)DUNBLANE CATHEDRALSigned and dated ‘88,inscribed verso, oil on board
20.5cm x 31cm (8in x 10in)
£600-800
42 FG497/4DAVID FARQUHARSONA.R.A., A.R.S.A., R.S.W., R.O.I.(SCOTTISH 1840-1907)A RIVER LANDSCAPE WITHDISTANT SNOWY PEAKSSigned and dated ‘85, oil oncanvas laid down
36cm x 61cm (14in x 24in)
£1,000-1,500
45 FF826/2JOHN H. (JOCK) WILSONH.R.S.A.(SCOTTISH 1774-1855)DUTCH BARGES OFF THECOASTOil on canvas
31cm x 51cm (12in x 20in)
£1,000-1,500
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46 FG325/8WILLIAM ALFRED GIBSON(SCOTTISH 1866-1931)THE HARBOURSigned, oil on canvas
69cm x 90cm (27in x 35.5in)
£800-1,200
47 FG600/22LOUIS GABRIEL EUGÈNEISABEY (FRENCH 1803-1886)UNLOADING THE CATCHSigned and dated 1851, oil oncanvas
63cm x 83cm (24.75in x 32.5in)
£3,000-5,000
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48 FG328/8SIR EDWIN HENRY LANDSEERR.A. (BRITISH 1802-1873)HEAD AND SHOULDERPORTRAIT OF LORDMELBOURNEOil on board
25.5cm x 20cm (10in x 8in)
Provenance:
Bears back label verso: 'Thos. Agnewand Son Ltd, London, no. 23624
£10,000-15,000
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One of the most notablefigures in 19th century Britishart, Landseer was famed forhis skilled depictions ofanimals and his patronage byQueen Victoria. He alsoproduced numerous portraitsof society figures, with thisstudy of Lord Melbournebeing one such example.
Melbourne was PrimeMinister of Britain betweenthe years 1834-1841 but isbest remembered as theyoung Queen Victoria’spolitical mentor, a position heundertook at the age of 58.Victoria famously adored heradvisor, and the pair forgedan intense companionship.Prior to this, Melbourne’smost remarkable claim tofame had been thespectacularly public end of hismarriage to the beautiful butflighty Lady CarolinePonsonby. Ponsonby hadconducted an overt andpassionate affair with LordByron during which shefamously described the poetas “mad, bad and dangerousto know.”
Landseer was firstcommissioned to paint LordMelbourne by Lady Holland,the wife of fellow Whigpolitician Henry Vassall-Foxand hostess of famous literaryand political salons. His mostfamous likeness ofMelbourne, however, is heldin the collection of theNational Portrait Gallery.Queen Victoria’s verdict of thepainting was positive, if
curiously inconsistent, statingthat it was “like him but toofat and though flattering is notin my opinion half pleasingenough. It is very well done.”
It is likely this work is a studyfor one of these portraits,depicting Melbourne from aslightly different angle thanthat of the fully worked upexamples. It would have beenexecuted c. 1836 while the
precociously talentedLandseer was still in his earlythirties. Lord Melbourne isshown as a handsome man ofadvancing years, hiscountenance kindly and hischaracteristic heavy sideburnsand brows easily recognisable.The face is boldly formed andthe hazily defined backgroundan increasingly recognisablecharacteristic of Landseer’smature work.
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49 FG445/1GEORGE PAUL CHALMERSR.S.A., R.S.W.(SCOTTISH 1833-1878)THE RED ROSESigned, oil on canvas
53cm x 43cm (20.75in x 17in)
£1,500-2,000
50 FF783/3WILLIAM JOSEPH SHAYER(BRITISH 1811-1892)STAGECOACH IN THE SNOWSigned, oil on board
30cm x 30cm (11.75in x 11.75in)
and a companion a pair by thesame hand (2)
£1,500-2,000
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51 FF654/1LOUIS BOSWORTH HURT(BRITISH 1856-1929)HIGHLAND CATTLE BY AMOUNTAIN STREAMSigned and dated 1912, oil oncanvas
69cm x 102cm (27in x 40in)
£10,000-15,000
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52 FF923/12ALFRED DE BREANSKI SNR.(BRITISH 1852-1928)A CHALLENGE FROMCRAGGY HEIGHTSSigned, oil on canvas
51cm x 76cm (20in x 30in)
Note:Bears a label verso which states:‘This painting was part of a largeconsignment of pictures despatchedby Cooling Galleries Ltd, London totheir galleries in Toronto. It wasshipped on the S.S. Empire Sailor,early in January 1941. On threesuccessive occasions the ship wastorpedoed, bombed and shelled andreturned under her own steam forrepairs. She eventually arrived inJune. All the pictures were deliveredin perfect condition.’
£3,000-5,000
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53 FE188/5WALLER HUGH PATON R.S.A., R.S.W.(SCOTTISH 1828-1895)ON THE TAY AT MURTHLYSigned and dated 1870, oil on panel
20cm x 46cm (8in x 18in)
£4,000-6,000
54 FF922/13GEORGE SMITH R.S.A.(SCOTTISH 1870-1934)RETURN FROM WORKSigned, oil on canvas
71cm x 91cm (28in x 36in)
£2,000-3,000
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55 FF923/15ROBERT WEIR ALLANV.P.R.W.S., R.S.W., N.E.A.C.(SCOTTISH 1851-1942)WAITING FOR THE BOATSSigned, oil on board
28cm x 43.5cm (11in x 17in)
£2,000-3,000
56 FF654/18ARCHIBALD DAVID REIDA.R.S.A, R.S.W., R.O.I.(SCOTTISH 1844-1908)GATHERING WRACKSigned, watercolour
41cm x 56cm (16in x 22in)
£500-700
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58 FF924/3SAM BOUGH R.S.A.(SCOTTISH 1822-1878)VIEW OF ST. MONANSSigned and dated 1873,watercolour
34cm x 51cm (13.5in x 20in)
£1,000-1,500
57§ FG586/18SIR DAVID YOUNG CAMERONR.A., R.S.A., R.W.S., R.S.W.,R.E. (SCOTTISH 1865-1945)AN ESTUARY SCENESigned, pencil andwatercolour
13cm x 37cm (5in x 14.5in)
£500-800
59* FF886/1WILLIAM H. BARTLETT(BRITISH 1858-1932)THE FERRYMAN, ST. IVESSigned and dated 1885, oil oncanvas
59cm x 83cm (23.25in x 32.5in)
£10,000-15,000
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Jan Zoetelief Tromp was bornin Batavia, an outpost of theformer Dutch East Indieswhere his father was workingas an official. Many artistshad travelled to the Dutchcolonies to paint and toeducate the locals in Westernart practise and one couldpostulate that Trompdeveloped his interest in artamidst this cultural hub.
By 1893 however, Tromp hadreturned to Holland andenrolled at The Hague
Academy under FrederickJohannes Jansen, later alsostudying at the Academy inAmsterdam. He lived themajority of his life in Francewhere he died in 1947.
Tromp carved a highlysuccessful career whichspanned genre scenes,landscape and seascapes.Works like the two shownhere were particularlypopular; featuring charmingchildren in rural and seasideidylls.
Tromp favoured bright lightand vivid tonalities, evoking aromantic sense of halcyonsummertime within his work.In a region that had sufferedso greatly at the hands of warduring the past century, hissignature sense of idealisedoptimism and references tochildhood innocence heldgreat appeal to the buyingpublic, as they indeed still dotoday.
Having married the daughterof Hague School artistBernadus Blommers, it wasperhaps inevitable that hisfather-in-law’s style wouldinfluence Tromp in thedevelopment of his ownoeuvre. The Hague School hadinitially been characterised byits sombre palette but latterly,due to the influence of FrenchImpressionism, figures suchas Jacob Maris and JozefIsraels began lightening andenriching their tonal range.
61§ FF910/2JAN ZOETELIEF TROMP(DUTCH 1872-1947)DAISY CHAINSSigned and signed verso, oilon canvas
36cm x 51cm (14in x 20in)
£20,000-30,000
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60§ FF910/1JAN ZOETELIEF TROMP(DUTCH 1872-1947)BY THE SEASIDESigned and signed verso, oilon canvas
36cm x 51cm (14in x 20in)
£30,000-50,000
62 FF175/10EVERT PIETERS(DUTCH 1856-1934)THE SHELL FISHERSigned, oil on panel
36cm x 25.5cm (14in x 10in)
£1,500-2,000
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63 FF620/5JOHANNES WEILAND(DUTCH 1856-1909)FRUGAL TIMESSigned and dated ’99,watercolour
58cm x 47cm (22.75in x 18.5in)
£600-900
64 FF808/1ROBERT GEMMELLHUTCHISON R.B.A., R.O.I.,R.S.A., R.S.W.(SCOTTISH 1860-1936)THE NEW ARRIVALSSigned, oil on canvas
61cm x 46cm (24in x 18in)
£10,000-15,000
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66§ FE188/26SPENCE SMITH R.S.A.(SCOTTISH 1880-1951)A WOODED RIVERLANDSCAPESigned, oil on canvas
91cm x 61cm (36in x 24in)
£1,500-2,000
65 FG305/7ARTHUR D. LEMON(1850-1912), FINISHED BYJOHN SINGER SARGENT R.A.BRINGING THE CARRARAMARBLE TO SICILYOil on canvas
42cm x 112cm (16in x 44in)
Provenance:From the estate of Diana, Countessof Albemarle.
Note:Inscribed by the artist's widowBlanche on a contemporary labelverso 'this is the last work on whichArthur Lemon was engaged. Thefew finishing touches were done byJohn Singer Sargent'.
£2,000-3,000
67§ FF922/2WILLIAM MILLER FRAZERR.S.A. (SCOTTISH 1864-1961)ST. IVES, HANTSSigned, oil on board
28cm x 35.5cm (11in x 14in)
£700-900
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69 FF541/2DAVID FULTON R.S.W.(SCOTTISH 1848-1930)PRESWEEP TIME - EARLYSPRING-TIMESigned and dated ‘88, signedand inscribed verso, oil oncanvas
53cm x 82.5cm (21in x 32.5in)
£1,000-1,500
68 FF541/3LOUIS BOSWORTH HURT(BRITISH 1856-1929)CLIFFS OF NOSS, SHETLANDIncised signature, inscribedverso, oil on board
14cm x 24cm (5.5in x 9.5in)
£1,000-1,500
70 FF748/1EDWIN LONG R.A.(BRITISH 1829-1891)AN ARAB GIRLSigned with a monogram, oilon canvasboard, oval
36cm x 31cm (14in x 12in)
Provenance:The Forbes Collection, London 2003
£3,000-5,000
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71§ FG330/2HARIJS EBERSTEINS(LATVIAN 1906-1964)TWO OTTOMAN WOMENSigned, oil on canvas
81cm x 76cm (32in x 30in)
£2,000-3,000
72§ FF39/8HENRY JOHN LINTOTT R.S.A.(BRITISH 1878-1965)SEA WINDOil on board
76cm x 56cm (30in x 22in)
Exhibited:Royal Academy 1941Russell Cotes Art Gallery,Bournemouth, Exhibition of worksby eminent living artists, 1945
£1,000-1,500
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73 FF622/1NIELS SIMONSEN(DANISH 1807-1885)ARAB STUDYSigned with initials, oil onboard
17cm x 15cm (6.75in x 6in)
and another study by thesame hand (2)
£600-900
74 FF922/10WILLIAM WALLS R.S.A.,R.S.W. (SCOTTISH 1860-1942)LIONESS AND CUBSSigned, oil on canvas
91cm x 122cm (36in x 48in)
Exhibited:Royal Scottish Academy, 1915,no. 170
£2,000-3,000
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75 FF922/8WILLIAM WALLS R.S.A.,R.S.W. (SCOTTISH 1860-1942)“CLUNY” - A SCOTTISHTERRIERSigned, oil on board
58cm x 48.5cm (22.75in x 19in)
£1,000-1,500
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76 FF39/18ROBERT ALEXANDER R.S.A.,R.S.W. (SCOTTISH 1840-1923)BY THE HEARTHSigned, oil on canvas
35.5cm x 25.5cm (14in x 10in)
£800-1,200
77 FF737/1ARCHIBALD THORBURN(SCOTTISH 1860-1935)SNIPESigned and dated 1920,watercolour
30cm x 20cm (12in x 8in)
Provenance:Rowland Ward Ltd, London
£5,000-7,000
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78§ FF737/2DAVID MORRISON REIDHENRY (BRITISH 1919-1977)TEAL IN HARD WEATHERSigned, watercolour
17cm x 25cm (6.75in x 9.75in)
Provenance:Rowland Ward, London
£500-700
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80§ FF923/7HANS HANSEN R.S.W.(SCOTTISH 1853-1947)OLD WAVERLEY STATIONSigned, watercolour
18cm x 25.5cm (7in x 10in)
£1,500-2,000
79§ FF923/17MARY HOLDEN BIRD(SCOTTISH 1920-1978)LOCH MORARSigned with monogram,watercolour
34cm x 52cm (13.5in x 20.5in)
£500-700
81§ FF923/8HANS HANSEN R.S.W.(SCOTTISH 1853-1947)SHOPPERS IN A BUSYSTREETSigned, watercolour
30.5cm x 20cm (12in x 8in)
£800-1,200
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82§ FF923/14FRANK H. MASON R.B.I., R.I.(BRITISH 1875-1965)THE FERRY, DUNOONSigned, gouache
78cm x 58cm (30.75in x 22.75in)
£800-1,200
83§ FG82/18JAMES MCINTOSH PATRICKR.S.A., R.O.I., A.R.E., L.L.D(SCOTTISH 1907-1998)GLAMIS VILLAGE FROM THERIVERSigned and dated ‘46, pen andink and watercolour
37cm x 55cm (14.5in x 21.5in)
£4,000-6,000
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84§ FG104/1JAMES MCINTOSH PATRICKR.S.A., R.O.I., A.R.E., L.L.D.(SCOTTISH 1907-1998)NEAR LUNDIE, ANGUSSigned, watercolour
53.5cm x 73.5cm (21in x 29in)
£2,000-3,000
85 FG82/27JAMES PATERSON R.S.W.,R.S.A., R.W.S.(SCOTTISH 1854-1932)A SUMMER STROLLSigned and inscribed‘Roseneath’, watercolour
30.5cm x 42cm (12in x 16in)
£2,000-3,000
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86§ FF923/16PATRICK DOWNIE R.S.W.(SCOTTISH 1854-1945)THE GLASGOWINTERNATIONAL EXHIBITION,1901Signed, watercolour
28cm x 38cm (11in x 15in)
£2,000-3,000
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87 FF922/16JOHN TERRIS R.S.W., R.I.(SCOTTISH 1865-1914)JOHN KNOX’S HOUSESigned, watercolour
61cm x 91cm (24in x 36in)
£800-1,200
88 FF622/2JAMES KAY R.S.A., R.S.W.(SCOTTISH 1858-1942)AUTUMN ON THE GARELOCHSigned, oil on board
25.5cm x 35.5cm (10in x 14in)
£1,000-1,500
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90§ FG378/2WILLIAM MILLER FRAZERR.S.A. (1864-1961)A MOORLAND STREAMSigned, oil on canvas
41cm x 61cm (16in x 24in)
£1,000-1,500
89 FF923/4DUNCAN CAMERON(SCOTTISH 1837-1916)THE DESERTED BEACH ATSUNSETSigned, oil on canvas
60cm x 91cm (23.5in x 36in)
£600-800
91 FF541/4ALFRED DE BREANSKISENIOR (BRITISH 1852-1928)FISHING BELOW THE FALLSSigned, oil on canvas
82cm x 122cm (32.25in x 40in)
£6,000-8,000
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92 FE499/69SIR WILLIAM FETTESDOUGLAS R.S.A.(SCOTTISH 1822-1891)THE CHESS PLAYERSOil on panel
22cm x 35.5cm (8.5in x 14in)
£600-900
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94 FE499/61SIR WILLIAM FETTESDOUGLAS R.S.A.(SCOTTISH 1822-1891)THE ERRAND OF MERCY -INCHCOLMSigned with a monogram anddated 1862, oil on canvas
54cm x 72cm (21.25in x 28.25in)
Exhibited:Royal Scottish Academy 1863,no. 311
£800-1,200
93 FE499/67SIR WILLIAM FETTESDOUGLAS R.S.A.(SCOTTISH 1822-1891)THE HARBOUR QUAYSigned with a monogram anddated 1876, oil on panel
17cm x 40cm (6.75in x 15.75in)
£500-800
96 FE499/62SIR WILLIAM FETTESDOUGLAS R.S.A.(SCOTTISH 1822-1891)ROMAN MODELS AT DINNERSigned, inscribed and dated‘Rome Jan ‘78’, oil on canvas
60cm x 50cm (24in x 20in)
Exhibited:Royal Scottish Academy 1878,no. 633
£1,000-1,500
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95 FE499/68SIR WILLIAM FETTESDOUGLAS R.S.A.(SCOTTISH 1822-1891)THE REVERIEInscribed on an old labelverso, oil on canvas
33cm x 28cm (13in x 11in)
£700-1,000
97 FB79/11ALEXIS DE LEEUW(BELGIAN 1848-1883)TIMBER WAGON IN THESNOWSigned, oil on canvas
76cm x 127cm (30in x 50in)
£1,000-1,500
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98 FB79/16JAMES WEBB(BRITISH 1825-1895)RESCUE AT SEASigned and dated ‘66, oil oncanvas
76cm x 127cm (30in x 50in)
£2,000-3,000
99 FF923/2HORATIO MCCULLOCH R.S.A.(SCOTTISH 1805-1867)PANORAMIC VIEW OFPARKLAND WITH CASTLE INMIDDLE DISTANCESigned, oil on canvas
66cm x 102cm (26in x 40in)
£1,000-1,500
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100 FF922/9ROBERT NOBLE R.S.A.(SCOTTISH 1857-1917)PRESTONKIRK, EVENINGSigned, oil on canvas
91cm x 145cm (36in x 57in)
Exhibited:Royal Scottish Academy., 1894,no. 108
£1,000-1,500
101§ FG98/1STANSMORE RICHMONDLESLIE DEANS(SCOTTISH 1866-1944)GIRL IN A STRAW HATOil on canvas
69cm x 56cm (27in x 22in)
Provenance:Family of Robert MacaulayStevenson and thence by descentSotheby’s, Glasgow 1985
Exhibited:Lillie Art Gallery, Milngavie 1984,no. 12Glasgow Art Gallery and Museum,Glasgow Girls 1990
Literature:Glasgow Girls - Women in Art andDesign 1880-1920, Ed. JudeBurkhauser 1990, Illustrated fig.281p. 209
£6,000-8,000
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102 FF922/20ROBERT BURNS A.R.S.A.(SCOTTISH 1869-1941)YOUNG WOMAN AT HERTOILETSigned and dated 1904, oil oncanvas
76cm x 61cm (30in x 24in)
Exhibited:‘Scottish Exhibition of NaturalHistory, Art and Industry’, 1911,no. 393
£2,000-3,000
103 FF922/21ROBERT ANNING BELL R.A.,R.W.S., N.E.A.C.(SCOTTISH 1863-1933)THE PALACE OF SLEEPINGBEAUTYSigned and dated ‘19, oil oncanvas
102cm x 76cm (40in x 30in)
Exhibited:British Empire Exhibition, 1925; alsobears ‘Toronto Exhibition’ back label
£3,000-5,000
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Artist and designer RobertAnning Bell was a memberof the British Arts and CraftsMovement. Particularly wellknown as a book designerand illustrator, Belladditionally created mosaicsfor Westminster Cathedraland frequently exhibited hispaintings in the RoyalAcademy, the New EnglishArt Club and the RoyalSociety of Painters inWatercolours. The artist alsoheld a succession ofsignificant academic postsbeginning at the LiverpoolUniversity School ofArchitecture beforeprogressing to Chief ofDesign at the GlasgowSchool of Art from 1911, andultimately Professor ofDesign at the Royal Collegeof Art from 1918 to 1924.
The fairy tale of SleepingBeauty had enjoyed renewedpopularity in the late 19th
century; Tchaikovsky’sfamous ballet was firstperformed in 1890 and Bellhimself approached the
subject on several occasions,illustrating the children’sbook ‘The Sleeping Beauty,and Dick Whittington and hisCat’ with author Grace LittleRhys in 1895. Between 1885and 1890 the Pre-Raphaeliteartist Edward Burne-Joneshad created a monumental,much celebrated series offour panels entitled “TheLegend of Briar Rose’. Bell’spainting of 1919, representedhere, seems to echo Burne-Jones’ second panel, ‘TheGarden Court’, which shows
moment; the women shownfrozen in suspendedanimation, pure and peacefulin repose. Feminist arthistorians have since alludedto the sensual undertones ofsuch depictions, the maleartists electing to keep thebeautiful young womeneternally trapped in theinnocence of sleep ratherthan allowing them themoment of (latent sexual)awakening granted by theprince’s kiss.
the maidens of the castleslumbering under the fairies’spell. It was accompanied byWilliam Morris’ verse:
“The maiden plaisance ofthe land
Knoweth no stir of voiceor hand
No cup the sleepingwaters fill
The restless shuttle liethstill.”
Victorian interpretations ofSleeping Beauty frequentlyseem to focus on this
Our view of the Parisian‘Belle Époque’ is somewhatblinkered by our fascinationwith the interpretation offeredby the French Realist andImpressionist schools.Contemporaries who did notsubscribe to the sameBaudelairian theory of‘Modernity’ have received lessattention in recent decades,though their quality is nonethe less compelling. LaTouche is one such exampleand an artist whose work isripe for renewedappreciation.
Though he elected to follow adifferent path from many ofhis contemporaries, he was aknown and well-regardedfigure in the same circles,frequenting the Café de laNouvelle Athènes where heconversed with and be-friended influential figuressuch as Manet, Duranty andZola. What set La Toucheaside from his fellow artistswas his determination topaint exactly what and howhe wanted to, ultimatelybucking the trend towardsrealism in order to create afantastical, almost fairy taleinterpretation of Paris in thelate 1800s. The escapismoffered by his artworks led tofame and commercialsuccess in his lifetime and heregularly exhibited at theannual Paris Salons, theSociété Nationale des Beaux-Arts and the Société desPeintres et Sculpteurs. Each
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with the glow of goldenlanterns. Part Classical idylland part celebration of LouisXIV’s decadent vision, theviewer is left wonderingwhether they have stumbledupon a bathing nymph or anelicit midnight dip in the 17thcentury.
Now, as we move from a“Belle Époque” of our owninto more austere times, theidealism and timelessness ofhis images begin to onceagain appeal strongly. In thewholly allegorical ‘L’Autel del’Amour’ we find realismdismissed entirely and theimplied narrative at its mostfantastical. La Touchetransports the viewer to asplendid classical palacewhere fireworks, a carpet ofrose petals, curtseyingmaidens and attentive satyrswelcome the child-god Cupid.Such scenes were the subjectof the artist’s largestcanvases and allowed hisimagination, and of coursethat of his viewers, entirelyfree reign.
[1] p.11 ‘Gaston La Touche: APainter of Belle Epoque Dreams’, bySelina Baring Maclennan, pub.Antiques Collectors Club, 2009
further into the realms offantasy, depicting a pair oflovers floating down atranquil river in a rowingboat, oblivious to all but eachother. Represented in aromantic embrace, thefigures are bathed in LaTouche’s favoured goldenautumnal light, presentingthe viewer with an image ofhighly transportive qualities.Being a happily married manhimself, romance was clearlya subject close to his heart.His wife was credited withwidening the circles of thenaturally retiring artist;contributing greatly to hissuccess, particularlyamongst North American artdealers and patrons.
Amongst the advice Manetimparted to the young LaTouche was a statement thatclearly resonated strongly:“In painting there is no blackor white, but only the coloursof the rainbow”. [1]Embracing this philosophywhole-heartedly, La Touche’sartworks are united by theirglowing palette and hisrefusal to shy away fromtackling challenging lighteffects. Few artists of theperiod so successfullymastered the depiction offireworks. In ‘Le Lac desCygnes’ we see a nude figureswimming, Venus-like,among swans in a fountain inthe garden at Versailles. Thesky is illuminated by redsmoke and the water glitters
artwork offered here for saleis an exemplary example ofthe principal motifs which heexplored repeatedlythroughout his career: fromopera to allegory.
La Touche’s interest wasparticularly piqued by thetheatricality of society events.While Degas aimed hisattention towards ballerinasand the orchestral pit, LaTouche diverted the focusfrom the performance andinstead made the foyers andopera boxes his stage and theaudience his characters. Inhis work ‘La Loge’ he seeks,as ever, to stimulate hisviewer’s imagination.Illuminated by romanticgaslight his ‘lead’, aglamorous woman, makesher way through the crowds.All eyes are turned towardsher and a handsome figure ina top hat appears to help herout of her striking red jacket.What his relation is to her,what her role in society mightbe and whether she drawsattention for her elegance ornotoriety is left for us todecide. Though not anuncommon subject for artistsof the time, La Touche’sfeather-light touch anddream-like lighting effectselevate the scene from themodernity of knowing satireto something more agelessand ethereal.
His painting ‘Les Amantssous le Pont’ takes us slightly
GASTON LA TOUCHE
104 FF927/2GASTON LA TOUCHE(FRENCH 1854-1913)LES AMANTS SOUS LE PONTSigned, inscribed ‘Sous L’Arche’ onstretcher verso, oil on canvas
61cm x 61cm (24in x 24in)
Literature:Illustrated as ‘L’Heure Exquise’, inConnoisseur July 1975; plate 77 as ‘Sousl’arche’, ‘Gaston La Touche: A Painter of BelleEpoque Dreams’, by Selina Baring Maclennan,pub. Antiques Collectors Club, 2009
£6,000-8,000
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105 FF927/3GASTON LA TOUCHE(FRENCH 1854-1913)L’AUTEL DE L’AMOURSigned, oil on canvas
170cm x 206cm (78in x 81in)
Literature:Plate 50 as ‘Homage to Cupid’,‘Gaston La Touche: A Painter ofBelle Epoque Dreams’, by SelinaBaring Maclennan, pub. AntiquesCollectors Club, 2009
£20,000-30,000
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106 FF927/1GASTON LA TOUCHE(FRENCH 1854-1913)LA LOGESigned, oil on canvas
93cm x 90cm (36.5in x 35.5in)
Literature:Plate 38 as ‘A l’opera’, ‘Gaston LaTouche: A Painter of Belle EpoqueDreams’, by Selina BaringMaclennan, pub. Antiques CollectorsClub, 2009
£10,000-15,000
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107 FF927/4GASTON LA TOUCHE(FRENCH 1854-1913)LE LAC DES CYGNESSigned, oil on canvas
38cm x 46cm (15in x 18in)
£4,000-6,000
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108 FE269/2ROBERT ANNING BELL R.A.,R.W.S., N.E.A.C.(SCOTTISH 1863-1933)WOMEN BY A FOUNTAINSigned and dated ‘05, oil onpanel
15cm x 18cm (6in x 7in)
Provenance:Andrew McIntosh Patrick
Exhibited:The Fine Art Society 2007, TheAndrew McIntosh Patrick Collectionno.16
£1,000-1,500
109§ FG442/1DAVID MACBETHSUTHERLAND R.S.A.(SCOTTISH 1883-1974)CAFE CANTANTA, SEVILLESigned and dated 1911, oil oncanvas
91cm x 71cm (36in x 28in)
Provenance:Collection of Marc-André Raffalovich(1864-1934)
£3,000-5,000
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This autumn Lyon & Turnbullare pleased to present forsale a selection of artworksfrom the collection of AlbertDavis. Davis was born into afamily of Russian Jewishimmigrants in Manchesterand, despite a strong interestin art, became a qualifieddoctor in 1925.
In the 1930s he startedcollecting an eclectic varietyof fine art works. At that time,apart from some works by theGreat Masters, art was notbought for investment as ithas been since the SecondWorld War, and as asuccessful doctor and singleman he was able to start a
small but significantcollection. During the war hisservice included casualtysurgery in the London Blitzand medical support for theUnexploded Bomb Squad.Ironically, some of hiscollection, including work byVlaminck, was destroyed bybombing.
After the war he started afamily and pursued asuccessful career as aneminent gynaecologist inLondon, although by this timehe could afford only modestadditions to his collection.Now upon the death of hiswife Renate, the collectionreturns to market for the firsttime in decades.
THE COLLECTION OF THE LATE DR. RENATE DAVIS
111 FF72/74MAXIME MAUFRA(FRENCH 1861-1918)GROSSE MER, ETRETATSigned, oil on canvas
38cm x 46cm (15in x 18in)
Provenance:Durand Ruel no.5560Marlborough Fine Art No. 01861where purchased by the ownerThe Estate of Dr Renate DavisDeceased
£7,000-10,000
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110 FF72/104ARMAND GUILLAUMIN(FRENCH 1841-1927)LA CREUSESigned, oil on canvas
38cm x 46.5cm (15in x 18.25in)
Provenance:Roland Browse and Delbanco,London December 1958The Estate of Dr Renate DavisDeceased
£7,000-10,000
112§ FF72/80ARISTIDE MAILLOL(FRENCH 1861-1944)SEATED FEMALE NUDESigned with a monogram,sanguine
30cm x 20cm (12in x 8in)
Provenance:Roland Browse and Delbanco,London June 1962The Estate of Dr Renate DavisDeceased
£1,500-2,500
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113§ FF72/83ARISTIDE MAILLOL(FRENCH 1861-1944)NUDE DE DOSSigned with the studio stamp,sanguine, with sketches verso
30cm x 21.5cm (12in x 8.5in )
Provenance:The Estate of Dr Renate DavisDeceased
£2,000-3,000
114§ FF72/82ARISTIDE MAILLOL(FRENCH 1861-1944)NUDE WITH DRAPE SEENFROM BEHINDSigned, pencil
23cm x 16cm (9in x 6.25in)
Provenance:The Estate of Dr Renate DavisDeceased
£1,500-2,000
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115§ FF72/94ANDRE DERAIN(FRENCH 1880-1954)SEATED NUDEStamped with the studiostamp
25cm x 17cm (10.75in x 6.75in)
Provenance:Piccadilly Gallery, London, 1967The Estate of Dr Renate DavisDeceased
£600-800
This superb sketch by Degasis likely to date to c. 1895-1900. By this stage Degas wasfully immersed in thepossibilities of his ballerinastudies, focusing his attentionbehind the scenes in thedressing room and duringrehearsals. Honing in onseemingly casual gestures – agirl pulling up a stocking or,as here, adjusting a shoulderstrap – he would analyticallyrepeat the movement fromnumerous angles, sometimesconveying the same action ina rhythmic, frieze-likecomposition. This study islikely to relate to completedworks such as ‘Behind theScenes’ from c. 1898 or‘Dancers’ of 1899.
Behind the incidentalappearance of these sketcheswas of course meticulouschoreography and stylization.His ability to capture theessential spontaneity of thedancer’s pose is testament to
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his skill and the fluidity of hisdraughtsmanship. By thisstage he had also begun todevelop a technique ofcomplicated shading andhatching - as seen in thetextured lines that make upthis drawing - a method thatlent a softness of focus whichfurther enhanced the sense ofmovement.
As with many of hiscontemporaries, Degas wasworking in the light ofcomments made by the poetand critic Charles Baudelairein his 1863 essay ‘The Painterof Modern Life’. Much ofDegas’ work epitomisesBaudelaire’s sentiments,perhaps most notably theassertion that, ““Modernity”signifies the transitory, thefugitive, the contingent.‘’ Bydescribing a fleeting everydaymoment, Degas purposefullyelevates the mundane andmakes us into an audience ofvoyeurs. The conscious
selection of a fragment of awider scene makes hisengagement withphotographic technologyevident, being a format heembraced in its own right aswell as used as a drawingaid.
116 FF72/73EDGAR DEGAS(FRENCH 1834-1917)DANSEUSE RAJUSTANTL’EPAULETTE DE SONCORSAGESigned with the studio stamp,charcoal on buff paper
58cm x 45cm (22.75in x 17.75in)
Provenance:Zwemmer Gallery , LondonNovember 1941The Estate of Dr Renate DavisDeceased
Literature:Roland Browse and Delbanco,Degas, May 1949, no.13
Literature:Catalogue Vente Degas 111, no.392
£80,000-120,000
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117§ FF72/81ANDRE DERAIN(FRENCH 1880-1954)PRONE NUDEStamped with the studiostamp, pencil
22cm x 28cm (8.5in zx 11in)
Provenance:Sothebys, 9 December 1971, lot 44The Estate of Dr Renate DavisDeceased
£600-800
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119§ FF72/78ANDRE DERAIN(FRENCH 1880-1954)RECLINING NUDEStamped with the studiostamp, pencil on buff paper
30cm x 43cm (11.75in x 17in)
Provenance:The Estate of Dr Renate DavisDeceased
£600-800
118§ FF72/79ANDRE DERAIN(FRENCH 1880-1954)SEATED NUDESigned, pencil
60cm x 44cm (23.5in x 17.25in)
Provenance:Piccadilly Gallery, London July 1961The Estate of Dr Renate DavisDeceased
£400-600
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Once established in hiscareer, Jacob Epstein wasfrequently commissioned tocreate portrait busts.Subsequently, they representa significant proportion of hisoutput.
According to biographer JuneRose he would firstmeticulously study his subjectfrom all angles, “noting theshape of the skull, therelation of the features toeach other and to the whole,and the dissimilarity betweenthe two sides of the face.” Hehad a tremendous aptitudefor conveying an accuratemental as well asphysiological likeness. Sincehis more experimentalbeginnings, Epstein had beenregarded as a member of theavant-garde and, as such,opposed to the stricturesplaced upon art practise bythe traditional institutions.This cemented his popularityamong more liberal patrons.
One such client was EllenJansen, a poet and memberof a bohemian American set,who commissioned the bust
herself in 1931. She marriedthe theatrical producerMaurice Browne, a founder ofthe Chicago branch of theLittle Theatre. Thisconstituted a movementwhich, in reaction to theincreasing popularity ofcinema, aimed to produce amore intimate “reform-minded” theatricalexperience. Epstein countersher sharp ‘Louise Brooks’ bobwith a serene smile. Thisremains one of the few bustshe created where his sitterdisplays anything other than arather enigmatic, reflectiveexpression.
Epstein also depicted hisfamily on several occasions.This bust of his daughter Kitty(with curls) was conceived in1944 and was the first ofthree he created in herlikeness. She was thedaughter of his long-termmistress, and latterly secondwife, Kathleen Garman who,famously, was shot in theshoulder with a pearl-handledpistol by his first wifeMargaret. Kitty herself wenton to become the artistLucien Freud’s first wife, andwas the muse behind severalof his seminal early workssuch as ‘Girl with Kitten’ and‘Girl with a White Dog’.
123§ FF72/63SIR JACOB EPSTEIN(BRITISH 1890-1959)PORTRAIT OF ELLENJANSENBronze
32cm (12.5in)
Provenance:The Estate of Dr Renate DavisDeceased
£4,000-6,000
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The art of stained glass wasone of Piper’s many passions.Though it was initially throughhis interest in architectureand archaeology that hefocused his studies in thisarea, it was not long before itbegan to engage himartistically. In his earlytwenties Piper began to makewatercolour copies of stainedglass windows in his localarea, a practise he latercredited with having taughthim “something of theemotional power ofcolour.” [1]
Before long stained glass hadbecome a serious academicpursuit. He made pilgrimagesaround the UK and Europe,France in particular, to seeearly medieval examples andmodern interpretations byartists like Leger and Chagall.By the mid-1950s he beganreceiving commissions for hisown designs.
Piper developed a strongideological stance towardsstained glass practise,publishing the book ‘StainedGlass: Art or Anti-Art’ in 1968.He felt that very littleexcellent stained glass hadhistorically been produced,stating that it had traditionallybeen condemned to the statusof craft industry as opposed
to art form. As with Piper’seclectic approach to all areasof his oeuvre, he felt thatstained glass design “is inconstant need of direction andcontrol and nourishment ofall kinds from art: frompainting, sculpture andarchitecture. It seldom getsit.” [2] Piper proposed thatartists should always be atthe helm, aided bycollaborative craftsmen, andurged, “good artists can betrusted: so clergy bebolder!”[3]
Piper designed and executedmany commissions alongsideglass artist John Reyntiensincluding windows for EtonCollege Chapel, St Andrew’sin Plymouth, LlandaffCathedral, the baptistery inCoventry Cathedral, LiverpoolMetropolitan Cathedral andRobinson College, Cambridge.His designs were seldomfigurative however, whichmakes the study offered hereboth interesting and a littleunusual. Inscribed‘Blasimon’, it is likely to havebeen created during asketching trip to thisparticular area of France;perhaps a study of a pre-existing window or a designinspired by his time there.Compositionally however, the
design bears closesimilarities to his first publicstained glass commission forOundle School’s chapel,created in 1954 at theinstigation of his friend JohnBetjeman. Here too we see atrio of closely flanked maleforms adopting a subtlecontrapposto position, withgreen and red hues tonallydominating the motif.
[1] p.39, ‘John Piper’, Tate Gallery,1983
[2] p.7, ‘Stained Glass: Art or Anti-Art’, by John Piper, published StudioVista, London 1968
[3] p.39, ‘Stained Glass: Art or Anti-Art’, by John Piper, published StudioVista, London 1968
JOHN PIPER
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121§ FF72/1JOHN PIPER C.H.(BRITISH 1903-1992)A PALAZZO, VENICESigned, pen and ink andwatercolour
39cm x 30cm (15.5in x 12in)
Provenance:The Estate of Dr Renate DavisDeceased
£4,000-6,000
122§ FF72/105JOHN PIPER C.H.(BRITISH 1903-1992)DESIGN FOR A STAINEDGLASS WINDOWSigned and inscribed, mixedmedia
55cm x 37cm (21.5in x 14.5in)
Provenance:Purchased from the artist 1 July1964The Estate of Dr Renate DavisDeceased
£4,000-6,000
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120§ FF72/62SIR JACOB EPSTEIN(BRITISH 1890-1959)FIRST PORTRAIT OF KITTY(WITH CURLS)Bronze, conceived in1944
37cm (14.5in) high (excluding base)
Literature:Richard Buckle, Jacob Epstein:Sculptor, Faber and Faber, London,1963, pl.456-458, pp.296-298(another cast ill. b&w)Evelyn Silber, The Sculpture ofEpstein, Phaidon, Oxford, 1986,cat.no.356, p.195 (plaster cast ill.b&w)
Provenance:The Estate of Dr Renate DavisDeceased
£6,000-10,000
OTHER PROPERTIES
124 FG366/1AIMÉ JULES DALOU(FRENCH 1838-1902)TRUTH DENIEDBronze, signed, inscribed‘Cire Perdu, Susse Frs. Edts.Paris’ with impressed foundrymark
22cm high
£5,000-8,000
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125 FG82/8BESSIE MCNICOL(SCOTTISH 1869-1904)THE VISITSigned, watercolour
27cm x 18cm (10.5in x 7in)
£1,500-2,000
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126 FG28/1JAMES WATTERSTONHERALD(SCOTTISH 1859-1914)KIRRIEMUIR FAIRSigned and dated ‘87,watercolour
27cm x 20cm (10.5in x 8in)
£1,500-2,000
127§ FG82/33KATE CAMERON R.S.W., R.E.(SCOTTISH 1874-1965)STILL LIFE WITH PANSIESSigned and dated 1894,watercolour
35.5cm x 35.5cm (14in x 14in)
Exhibited:Helensburgh District Arts Club, Westof Scotland Artists, 1976, no13Glasgow Art Gallery & Museum 1976
£3,000-5,000
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128 FG471/45DSTUART PARK(SCOTTISH 1862-1933)A STILL LIFE OF PINK ROSESSigned, oil on canvas
61cm x 51cm (24in x 20in)
£800-1,200
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129 FE188/11STUART PARK(SCOTTISH 1862-1933)STILL LIFE OF PINK ROSESSigned, oil on canvas
38cm x 30.5cm (15in x 12in)
£1,000-1,500
130 FE188/25STUART PARK(SCOTTISH 1862-1933)STILL LIFE OF RED ANDYELLOW ROSESOil on canvas
51cm x 76cm (20in x 30in)
£2,000-3,000
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131 FF654/21STUART PARK (1862-1933)A STILL LIFE OF YELLOWAND PINK ROSESSigned with a monogram, oilon canvas
46cm x 76cm (18in x 30in)
£1,500-2,000
132 FF654/9ROBERT MCGREGOR R.S.A.(SCOTTISH 1847-1922)LISTENING TO THE SEASigned, oil on canvas
28cm x 38cm (11in x 15in)
£1,000-1,500
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133 FF654/10ROBERT MCGREGOR R.S.A.(SCOTTISH 1847-1922)TAKING A RESTSigned and dated ‘79, signedand inscribed verso, oil oncanvas
23cm x 31cm (9in x 12in)
£1,000-1,500
134 FF923/5WILLIAM MARSHALL BROWN(SCOTTISH 1863-1936)PLAYING IN THE SHALLOWSSigned, oil on canvas
31cm x 41cm (12in x 16in)
£8,000-12,000
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135 FF622/3JAMES KAY R.S.A., R.S.W.(SCOTTISH 1858-1942)THE ARROCHAR ALPS FROMFINNART BRAESigned, oil on board
61cm x 75cm (24in x 30in)
£2,000-3,000
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137 FG378/1ROBERT HOPE R.S.A.(SCOTTISH 1869-1936)PENTLAND HILLSSigned, oil on canvas
63cm x 76cm (25in x 30in)
£1,500-2,000
136 FF654/24GEORGE BLACKIE STICKS(BRITISH 1843-1938)GLENGARRY CASTLE,EVENINGSigned and dated 1892,signed, inscribed and datedverso, oil on canvas
71cm x 91cm (28in x 36in)
£2,000-3,000
138 FF733/4ROBERT BROUGH R.A.,A.R.S.A.(SCOTTISH 1872-1905)FISHING FLEET IN PORTSigned with initials, pastel
41cm x 28cm (16in x 11in)
£1,500-2,500
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140 FC697/2WILLIAM KAY BLACKLOCK(BRITISH 1872-1924)PREPARING THE MIDDAYMEALSigned, watercolour
29cm x 21.5cm (11.5in x 8.5in)
£800-1,200
139 FF733/3SIR JOSEPH NOEL PATONR.S.A. (SCOTTISH 1821-1901)A MOONLIGHT SCENE WITHPUCKISH FIGURE SEATEDON A TOADSTOOLSigned with an ‘i’ and dated1876, oil on board, arched top
14cm x 9.5cm (5.5in x 3.75in)
£800-1,200
141 FG330/5THOMAS CHARLES BALE(BRITISH 19TH CENTURY)STILL LIFE WITH PIGEONSSigned and dated 1881, oil oncanvas
56cm x 66cm (22in x 26in)
and a companion a pair ‘ Stilllife with ducks’ (2)
£2,000-3,000
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142 FF654/26LOUIS BOSWORTH HURT(BRITISH 1856-1929)HIGHLAND CATTLEWATERING IN A MOUNTAINGLENSigned and dated 1910, oil oncanvas
61cm x 101cm (24in x 40in)
£6,000-8,000
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143 FF888/2JOHN ROBERTSON REID R.I.,R.B.A., R.O.I.(SCOTTISH 1851-1926)HARVESTING NEAR GLENASHDALE, ARRANSigned and dated ‘09, oil oncanvas
46cm x 61cm (18in x 24in)
£1,500-2,000
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145§ FF922/11HECTOR CHALMERS(SCOTTISH 1848-1943)BARK PEELERS NEARCULROSSSigned, oil on canvas
106cm x 151cm (41.75in x 59.5in)
Exhibited:Probably exhibited Royal ScottishAcademy, 1900, no. 23
£1,000-1,500
144 FF654/19AFTER RICHARD ANSDELLRETURNING FROM THESTAG HUNTOil on canvas
30cm x 98cm (12in x 38.5in)
£1,000-1,500
146 FF923/20ARCHIBALD DAVID REIDA.R.S.A., R.S.W., R.O.I.(SCOTTISH 1844-1908)THE VILLAGE MEMORIALOil on board
25.5cm x 35.5cm (10in x 14in)
and another by the samehand (2)
£600-800
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147 FF654/25JOSEPH HENDERSON R.S.W.(SCOTTISH 1832-1908)WAVES BREAKING ON ADESERTED ROCKY COASTSigned, oil on canvas
63cm x 91cm (25in x 36in)
£800-1,200
146
149 FG445/2COLIN HUNTER A.R.A., R.I.,R.S.W. (SCOTTISH 1841-1904)FISHERMAN, LAC DEBOURGETSigned and dated ‘88, oil oncanvas
51cm x 91cm (20in x 36in)
£2,000-3,000
148 FF923/24ALEXANDER YOUNG(SCOTTISH 1865-1923)MENDING THE NETSSigned, oil on canvas
41cm x 69cm (16in x 27.25in)
£1,000-1,500
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151 FF922/4WILLIAM WALLS R.S.A.,R.S.W. (SCOTTISH 1860-1942)TURF CARRIERS, SHETLANDSigned and dated 1903,inscribed with title labelverso, oil on canvas
41cm x 61cm (16in x 24in)
£1,000-1,500
150§ FG82/37ROBERT EADIE R.S.W.(SCOTTISH 1877-1954)ON THE CLYDE ATBROOMIELAWSigned, oil on canvas
102cm x 127cm (40in x 50in)
£4,000-6,000
152 FF780/2ALEXANDER KELLOCKBROWN R.S.A., R.S.W., R.I.(SCOTTISH 1849-1922)DUCKS BY A FARM PONDSigned with initials and dated‘81, oil on panel
28cm x 15cm (11in x 6in)
and a companion by the samehand ‘A country path’ (2)
£800-1,200
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153 FF149/1LÉON AUGUSTIN LHERMITTE(FRENCH 1844-1925)AT THE END OF THE DAYSigned, pastel
50cm x 41cm (19.75in x 16in)
£4,000-6,000
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154 FF922/19DAVID GAULD R.S.A.(SCOTTISH 1867-1936)CALVES IN A BYRESigned, oil on canvas
61cm x 76cm (24in x 30in)
£3,000-5,000
155 FF922/3THOMAS CORSON MORTON(SCOTTISH 1859-1928)GLEN SANNOXOil on canvas
91cm x 122cm (36in x 48in)
Provenance:Alexander Reid and Lefevre
£2,000-3,000
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157§ FC972/35HENRY SCOTT(BRITISH 1911-2005)THE CLIPPER WELLINGTONON THE TWILIGHT WATCHSigned, oil on canvas
61cm x 101cm (24in x 40in)
Note:The Wellington, 1247 tons, was builtin 1874 by Robt. Duncan, PortGlasgow
£3,000-5,000
156 FF654/23GEORGE BLACKIE STICKS(BRITISH 1843-1938)LAND OF THE MOUNTAINAND THE FLOOD, ISLE OFSKYESigned and dated 1898,signed, inscribed and datedverso, oil on canvas
71cm x 91cm (28in x 36in)
£2,000-3,000
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158 FF923/11ALFRED DE BREANSKI SNR.(BRITISH 1852-1928)THE PASS OF GLENCOESigned, signed and inscribedverso, oil on canvas
61cm x 91cm (24in x 36in)
£5,000-7,000
159 FF185/1PATRICK WILLIAM ADAMR.S.A. (SCOTTISH 1854-1929)JAPANESE ANEMONESOil on canvas, inscribed on alabel verso
24in x 20in (61cm x 51cm )
£1,000-1,500
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160§ LT2013/36HENRY SCOTT(BRITISH 1911-2005)STUDY OF THE TRADEWINDS TEA CLIPPER‘SPINDRIFT’Signed, oil on canvas
91cm x 61cm (36in x 61in)
Note:The Spindrift was built by Connell &Co of Glasgow in 1867. Shemeasured 219ft. in length with a35ft. beam and was registered at889 tons.
£3,000-5,000
161 FG471/45CDAVID GAULD R.S.A.(SCOTTISH 1865-1936)CALVES BY THE SEASigned, oil on canvas
51cm x 76cm (20in x 30in)
£2,000-3,000
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162§ FG426/2DAME LAURA KNIGHT D.B.E.,R.A. (BRITISH 1877-1970)DRESSINGSigned, oil on canvas
51cm x 46cm (20in x 18in)
Exhibited:Royal Academy 1926, no.472Atkinson Art Gallery, Southport1954,no.109
Provenance:J. Leger & Son London, July 1955
£8,000-12,000
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In 1926 Laura Knighttravelled to Baltimore,America to join her husbandHarold Knight who was in theprocess of completing aseries of portraitcommissions of the surgeonsat John Hopkins hospital.Knight was given permissionto draw and paint in thematernity and children’swards which were raciallysegregated. There sheproduced some of the finestportraits of her career, manyof black women and children,nurses and patients on thehospital ward. These worksshow a sensitivity towards thesubject that marked Knightout from her contemporaryfigurative and portraitpainters and contributed toher being made the secondever female Associate of theRoyal Academy the followingyear.
The present painting of ayoung woman perched on the
edge of a hospital bed is aparticularly sensual exampleof the work from this period.The theme of the semi-cladnude is recurrent in Knight’swork; many of the paintingssurrounding the theme of theballet and theatre showactors and dancersbackstage in the process ofdressing or undressing - thetension between beingclothed and unclothed iscaptured by Knight as amoment that is both excitingand natural.
Here, the model, possibly apregnant patient at thehospital, is shown with oneshoe half on, the other underthe bed. Her undergarmentsride up around her waist andher blue dress rests on thebed. She appears distracted,as though she is glancing at
her reflection in an unseenmirror. Lit by artificial light,the colours are cool and theatmosphere is one ofintrospection.
The light on the skin of thesitter emphasises her firmsmooth flesh and the volumeof her body. Knight’s portraitand figurative painting fromthe mid 1920s show amovement towards sculpturalform and solid permanence.She later wrote ‘I wasdetermined to get the lastfraction of richness in themodelling, and a third-dimensional quality, such as Ihad not previouslyaccomplished.’ The subject ofthis painting and thesculptural effects are aconscious nod to Knight’sfriend Dod Procter whosepainting of a sleeping woman
‘Morning’ (Tate Gallery -illustrated below) won Pictureof the Year at the RA summerexhibition in 1927.
To celebrate her election tothe Royal Academy in 1927,British Pathé made a shortfilm of Laura Knight paintingin her studio, surrounded bynudes and portrait studiesfrom John Hopkins hospital.The film shows Knight at thepeak of her success, anAcademician (before herhusband), producingpaintings with impact andsubtlety. Dressing is acompelling and finely paintedexample from this period ofhighly ambitious work.
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163 FF923/21WILLIAM PRATT(SCOTTISH 1854-1936)BY THE SEASIDESigned and dated 1910, oil oncanvas
30.5cm x 46cm (12in x 18in)
£2,500-3,500
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164 FF923/23ALEC FRASER(SCOTTISH fl. 1900-14)GATHERING WILD FLOWERSON THE RIVERBANKSigned, oil on canvas
46cm x 58.5cm (18in x 23in)
£1,200-1,800
165 FG325/21ROBERT MCGOWNCOVENTRY A.R.S.A., R.S.W.(SCOTTISH 1855-1941)THE GLASGOW EXHIBITIONSigned, oil on panel
20cm x 25.5cm (8in x 10in)
£2,500-3,000
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166 FF923/13WILLIAM BRADLEY LAMONDR.B.A. (SCOTTISH 1857-1924)GATHERING POTATOES ATMENZIES HILLSigned, oil on canvas
35.5cm x 46cm (14in x 18in)
£1,000-1,500
167* FF886/2SVETOSLAV NIKOLAEVICHROERICH(RUSSIAN 1904-1993)A TIBETAN WOMANIndistinctly signed with amonogram, oil on canvas
102cm x 68.5cm (40in x 27in)
£20,000-30,000
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Born in St. Petersburg in1904, Svetoslav Roerich spentmuch of his adult life abroad.Studying in Sweden, Englandand the U.S.A. at ColumbiaUniversity and the HarvardSchool of Architecture, heeventually moved to India inthe 1930s. His fatherNicholas Roerich, a fellowartist to whom there is amuseum devoted in NewYork, was living as a mystic inthe Himalayan Mountains atthe time. This was an areaSvetoslav would also forge adeep connection with. Hebecame close to the localpopulation of the Kulu Valley,attracted by the romanticismof their colourful clothing andtraditions and their rustic wayof life in the snowy foothills.
The painting offered here forsale is likely to relate to histravels in Tibet or Mongolia.The sitter offers him a warmsmile, a testament to the highregard in which he was heldby the locals of the region.The background is boldlyabstracted and typicallycolourful. Roerich adoptedthe emotive use of colour
from the tradition of Indianminiatures, assimilating itwith the Post-Impressionistinfluences he had acquiredduring his studies in Europe.The artist purportedlyprepared many of thepigments he used personally,based on his knowledge ofHimalayan plants.
statesmen, and in 1945married India’s leadingactress Devika Rani. Roerichwas devoted to India andremained there until his deathin 1993.
Svetoslav’s artwork combinedIndian artistic heritage, adesire to chart the realities ofindigenous populations and apassion, inherited from hisfather, to explore the spiritualstrivings of humanity. He waswell-known within Indiansociety, the friend ofimportant academics and
168 FF222/4OSWALDO GUAYASAMIN(ECUADOREAN 1919-1999)HALF LENGTH PORTRAIT OFLUIS ANTONIO PENAHERRERASigned, oil on canvas
89cm x 63cm (35in x 25in)
£2,000-3,000
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Oswaldo Guayasamin was animportant South Americanartist whose legacy as a vocalfighter against war, inequalityand the rights of indigenouspopulations is globallyrecognised.
Born and educated in Quito,Ecuador in 1919, Guayasaminquickly rose to renown,winning both the Barcelona
and São Paulo Biennialswhilst still in his early thirties.He also received the FrenchLegion of Honour and wasawarded the UNESCO JoséMartí Prize. His murals can befound in the Central Universityof Quito, Barajas Airport inMadrid, the UNESCOheadquarters in Paris and theLatin American Parliament inSão Paulo.
juxtaposed with the minister’sneat and quietly authoritativeappearance, conveying asense of the sitter’s inwarddynamism of character. It is apleasingly period work; highlyevocative in mood and tone ofits 1950’s origins, from thesitter’s wide-brimmedspectacles to the patterneddécor of the setting.
His artwork, which alsoencompasses sculpture, islargely expressionistic in stylewith a marked debt to Picasso.In this work, an officialportrait of the EcuadorianMinister Luis AntonioPenaherrera, he adopts aslightly more naturalistictechnique. A vivid, yellow-toned palette and boldbackdrop is interestingly
169§ FE499/24DAVID SAWYER R.B.A.(BRITISH 20TH CENTURY)ON THE BEACH,PERRANPORTHSigned, oil on board
51cm x 101cm (20in x 40in)
£1,000-1,500
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170§ FF648/1DAVID SAWYER R.B.A.(BRITISH 20TH CENTURY)VAPORETTO AND GONDOLA,SAN GIORGIO MAGGIORESigned, oil on board
29cm x 38cm (11.5in x 15in)
£800-1,200
171§ FG600/16ANTOINE BOUVARD(FRENCH 1870-1956)A VENETIAN CANAL SCENESigned, oil on canvas
46cm x 61cm (18in x 24in)
£5,000-7,000
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173§ FF922/6JOHN DUNCAN R.S.A., R.S.W.(SCOTTISH 1866-1945)ST. COLUMBA BIDDINGFAREWELL TO THE OLDHORSESigned, mixed media
63cm x 76cm (25in x 30in)
Exhibited:Royal Scottish Academy, 1925,no. 423; ‘John Duncan Exhibition’,1986, Kelvingrove Museum andGallery, Glasgow
£1,200-1,800
172§ FF780/4RONALD OSSORY DUNLOP(IRISH 1894-1973)COTTAGE IN THE WOODSSigned, oil on canvas
63cm x 76cm (25in x 30in)
£1,000-1,500
174 FF923/3ROBERT GEMMELLHUTCHISON R.S.A., R.S.W.(SCOTTISH 1855-1936)A WELL EARNED NAPSigned, oil on canvas
63cm x 76cm (25in x 30in)
£15,000-20,000
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175 FF654/8ROBERT GEMMELLHUTCHISON R.B.A., R.O.I.,R.S.A., R.S.W.(SCOTTISH 1860-1936)LEARNING TO READSigned, oil on canvasboard
41cm x 31cm (16in x 12in)
£4,000-6,000
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176 FG325/13WILLIAM LEE HANKEY(BRITISH 1869-1952)MOTHER LOVESigned, oil on canvas
37cm x 45cm (14.5in x 17.75in)
£800-1,200
177§ FF29/1SIR HERBERT JAMES GUNNR.A., P.R.P., R.S.W.(SCOTTISH 1893-1964)FULL LENGTH PORTRAIT OFA LADY IN A BLACK DRESSSigned and dated ‘47, oil oncanvas
91cm x 71cm (36in x 28in)
£3,000-5,000
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178§ FF27/2JOSZA JARITZ(HUNGARIAN 1893-1986)DARK WOMANSigned and dated 1918, oil oncanvas
71cm x 58cm (28in x 22.75in)
Provenance:Crane Kalman Gallery , London ,November 1989
£800-1,200
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179§ FG450/1WINIFRED NICHOLSON(BRITISH 1893-1981)CHEEKY CHICKS 1950Oil on canvas
63cm x 76cm (24in x 30in)
Exhibited:Tate Gallery, London, WinifredNicholson 1987, no.35Arts Council, Hayward GalleryLondon, Winifred Nicholson Tour1987, no.35The British Council Visual ArtDepartment, U.K. Presidency ofEuropean Council of MinistersCoastlinesCrane Kalman, London, The ruralpoetry of 3 English women artists1992Scottish National Gallery of ModernArt, Winifred Nicholson 2003
£50,000-70,000
Though recognition was neveran issue for WinifredNicholson - she was born intoan eminent politically andartistically active family,exhibited regularly and soldconsistently - interpretation ofher career has beensomewhat blighted by herstatus as ‘first wife of BenNicholson’. It is only in recentdecades that her valuablecontribution to 20th centuryBritish art has been evaluatedin an individual sense. Hittingher artistic stride and findingher niche by the mid-1920s,her work has a rare focus andstrength of personality. She isnow felt to have been pivotalto her husband’s development
of the use of colour. Echoesof her technique - the purityof colour, the freedom ofform - can be detected in thework of artists she frequentlyworked alongside such asIvon Hitchens andChristopher Wood.
Nicholson’s work wasthematic but never repetitive.Her most commoncompositional device wasthat of the informal still lifearrangement set somewhatsurreally before a panoramiclandscape, the workrepresented here being anarchetypal example. Herwork is in many waysdeceptive, its sophisticationonly evident upon a closerreading. It is not naïve butinstead fluidly articulate,highly dream-like as opposedto overtly realistic, andemotionally evocative ratherthan light-heartedlysimplistic. There is a sensethat her paintings containmuch of herself. Theparameters of the interiorand exterior of the scene areblurred, as too are theparameters of what the artistsees and what she feels.Nicholson described thisprocess in a letter to herdaughter Kate, the same yearthis picture was painted:
“…All painting is to mepainting of air and sky –that holds colours and light– not pictures of objects.”
The foreground and horizonare typically merged here,anchored by the strongyellows and aquamarines inthe middle of thecomposition. A keen colourtheorist, Nicholson’sfascination with the qualityand play of light led her tovisit the West Coast ofScotland on an almost annualbasis for many years. Hereshe found the northern lightpleasingly crisp and silvery,slanting through objects asopposed to simply fallingdirectly upon them.
Though stylistically amodernist, Nicholson felt thatideologically she was workingwithin the romantic tradition.The folklore of the Hebrideanislands and the timelesslifestyles of the inhabitantsstruck a chord, enhancing theethereal element within herwork. Her happiness duringher time in Scotland istangible in ‘Cheeky Chicks’(1951), painted on a trip to theremote island of South Uistwhere she stayed with a localcrofter and his family. Variousdogs, cats and livestockroamed about the yard and it
was a battle to keep themfrom entering the cottage.Here, Nicholson humorouslycaptures a family of scruffyblack hens fleeing the scenehaving made one such anattempt.
An important work, it containsall of her quintessentialelements and encapsulatesthe virtuosity of her middleperiod. A favourite amongcurators and academics formany years, it was a starpicture in the National Galleryof Scotland’s 2003 exhibitionof Nicholson’s Scottishpaintings and was additionallyfeatured on the cover of thecatalogue for her 1987retrospective at the Tate.
180§ FG427/37KEITH VAUGHAN(BRITISH 1912-1977)DARNING SOCKSPen and ink and wash
23cm x 18cm (9in x 7in)
Provenance:Austin/Desmond Fine Art Limited1987
Note:The work dates from c.1941
£1,000-1,500
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181§ FG427/38KEITH VAUGHAN(BRITISH 1912-1977)THREE FIGURES ROUND ATABLEPencil
13cm x 18cm (5in x 7in)
Provenance:Austin/Desmond Fine Art Limited1987
Note:The work dates from c.1950
£1,000-1,500
182§ FG600/80DAVID MCCLURE R.S.A.,R.S.W., R.G.I.(SCOTTISH 1926-1998)LITTLE JUG OF FLOWERSSigned and dated 82,inscribed verso, oil on panel
23cm x 18cm (9in x 7in)
£500-700
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183§ FE355/5ALBERTO MORROCCO O.B.E.,R.S.A., R.S.W.(SCOTTISH 1917-1998)DONKEYS, ANTICOLISigned and inscribed‘Corrado’, watercolour
70cm x 54cm (27.5in x 21.25in)
£1,500-2,500
184§ FG82/2JOHN MACLAUCHLAN MILNER.S.A. (SCOTTISH 1886-1957)OVERLOOKING THE BAYSigned, watercolour
35.5cm x 46cm (14in x 18in)
£3,000-5,000
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186§ FG82/26SIR WILLIAM GEORGEGILLIES C.B.E., R.A., R.S.A.,R.S.W., D.LITT.(SCOTTISH 1898-1973)GARDENSTOWN,BANFFSHIRESigned, pencil andwatercolour
25.5cm x 35.5cm (10in x 14in)
£2,500-3,500
185§ FF651/3SIR WILLIAM GEORGEGILLIES C.B.E., R.A., R.S.A.,R.S.W., D.LITT.(SCOTTISH 1898-1973)EVENING SKYSigned, watercolour
27cm x 33.5cm (10.5in x 13.25in)
Exhibited:The Scottish Gallery, Sir WilliamGillies & The Edinburgh School,2006, no.13
£1,500-2,000
187§ FG500/2JOHN G. BOYD R.P., R.G.I.(SCOTTISH 1940-2001)CORNFIELD GROUPSigned, oil on canvas
102cm x 102cm (40in x 40in)
£3,000-5,000
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188§ FG500/1JOHN G. BOYD R.P., R.G.I.(SCOTTISH 1940-2001)TRACTOR GROUPSigned, oil on canvas
102cm x 122cm (40in x 48in)
£3,000-5,000
189§ FF809/4WILLIAM GEAR(SCOTTISH 1915-1997)DIAMOND STRUCTURESigned, inscribed and datedAug. ‘68 verso, oil on canvas
122cm x 91cm (48in x 36in)
Exhibited:The Scottish Arts Council, WilliamGear 1969
£5,000-7,000
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190§ FB791/20JOHN BELLANY C.B.E., R.A.,H.R.S.A.(SCOTTISH 1942-2013)THE FISHING FLEET IN LEITHSigned, oil on canvas,unframed
91cm x 122cm (36in x 48in)
£2,500-4,000
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191§ FB791/21JOHN BELLANY C.B.E., R.A.,H.R.S.A.(SCOTTISH 1942-2013)FISHING BOATS,CAMPBELTOWNSigned, oil on canvas,unframed
91cm x 122cm (36in x 48in)
£2,500-4,000
192§ FF923/10SIR ROBIN PHILIPSON R.A.,P.R.S.A., R.S.W., R.G.I.,H.R.H.A.(SCOTTISH 1916-1992)ODALISQUESigned, inscribed label verso,oil on canvas
17cm x 35.5cm (6.75in x 14in)
£1,500-2,000
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194§ FE736/1NAEL HANNA(SCOTTISH/IRAQI b. 1959)STORMY NIGHT, WEST COASTSigned, oil on canvas
68cm x 98cm (27in x 38.5in)
£1,500-2,000
193§ FG586/5SIR WILLIAM MACTAGGARTP.R.S.A., R.A., R.S.W.(SCOTTISH 1903-1981)RED ROCKS, DUNBARSigned, oil on board
16.5cm x 25.5cm (6.5in x 10in)
£600-800
195§ FB791/23JOHN BELLANY C.B.E., R.A.,H.R.S.A.(SCOTTISH 1942-2013)FISH WIFE, EUPHRATESSigned, oil on canvas,unframed
122cm x 91cm (48in x 36in)
£2,500-4,000
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196 FF28/1FRANCIS CAMPBELLBOILEAU CADELL R.S.A.,R.S.W. (SCOTTISH 1883-1937)PORTRAIT OF A YOUNG MANWatercolour
23cm x 15cm (9in x 6in)
Provenance:The family of the artist and bydescent
£3,000-5,000
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197 FF28/2FRANCIS CAMPBELLBOILEAU CADELL R.S.A.,R.S.W. (SCOTTISH 1883-1937)ON THE SHOREWatercolour
15cm x 23cm (6in x 9in)
Provenance:The family of the artist and bydescent
£4,000-6,000
198§ FF151/72SIR ROBIN PHILIPSON R.A.,P.R.S.A., R.S.W., R.G.I.,L.L.D., D.LITT.(SCOTTISH 1916-1992)POPPIES ON A BLUEGROUNDSigned and dated 1983 on alabel verso, oil on board
106.5cm x 183cm (42in x 72in)
Exhibited:Edinburgh College of Art, RobinPhilipson Retrospective 1989, no.139
£30,000-40,000
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199§ FF654/11ELIZABETH BLACKADDERD.B.E., R.A., R.S.A., R.S.W.,R.G.I., D.LITT.(SCOTTISH b. 1931)STILL LIFE WITH POPPYSigned and dated 1983, penciland watercolour
15cm x 18cm (6in x 7in)
£1,200-1,800
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200§ FF654/22ELIZABETH BLACKADDERD.B.E., R.A., R.S.A., R.S.W.,R.G.I., D.LITT.(SCOTTISH b. 1931)PURSE AND INDIAN BIRDSSigned and dated 1984, mixedmedia
20cm x 99cm (8in x 39in)
Provenance:Mercury Gallery, London
£2,000-3,000
201§ FG600/51MARY ARMOUR R.S.A.,R.S.W., R.G.I.(SCOTTISH 1902-2000)SUMMER FLOWERSSigned and dated ‘71, oil oncanvas
61cm x 63cm (24in x 25in)
£3,000-5,000
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202§ FF541/1JOHN MACLAUCHLAN MILNER.S.A. (SCOTTISH 1886-1957)DESERTED BEACH, WEST OFSCOTLANDSigned, inscribed with title onlabel verso, oil on board
38cm x 46cm (15in x 18in)
£7,000-9,000
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203§ FB791/25JOHN BELLANY C.B.E., R.A.,H.R.S.A.(SCOTTISH 1942-2013)KINDRED STARSigned, oil on canvas,unframed
91cm x 122cm (36in x 48in)
£2,000-3,000
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204§ FG568/1JOAN EARDLEY R.S.A.(SCOTTISH 1921-1963)DUNIRA HILLSIDEOil on canvas
33cm x 97cm (13in x 38in)
Provenance:Purchased from Douglas Dando,10th February 1969
£25,000-35,000
Dunira Hillside is likely tohave been painted in 1959when Eardley travelled toComrie in Perthshire. Thereshe visited the poet and artistIan Hamilton Finlay and hiswife, who were living a simplerural life. Eardley wasattracted to primitiveexistence; she would havebeen drawn to the Finlays wholived in a shepherd’s cottage,earning enough to sustainthemselves through fishing,shepherding and manuallabour.
Eardley had learnt to paintopen vistas while living on thecoast at Catterline - capturingthe full panorama that a seaview offers. The lessons fromCatterline have here beenapplied to the hilly landscapeof Dunira. Eardley’spreliminary pastel sketchesshow that she would start in
one place with one sheet ofpaper but as the vista tookher eye out to left and rightshe would need to add sheetsof paper to either side of theoriginal sheet in order toextend the panorama beyondthe confines of the first sheet.Thus, she did not set out topaint a specific scene or viewbut would select a positionfrom which to paint and fromthere she would twist andturn, sometimes executing anumber of paintings from onespot.
Painting in the open air,amidst hedgerows, burns andditches Eardley was most athome. She becamecompletely immersed in herenvironment, standing waistdeep in grass until she washalf submerged. She wouldleave her easel and paints onthe ground overnight, thechosen spot being so far offthe path. Painting outdoorscame with its challenges andEardley often wrote of battlingwith the elements, knowing
that her art was at its bestduring rain storms, grey skiesand harsh winds. The roughtexture of her painting, withspots of thick impasto, scoredin areas by a palette knife andother areas of thin sweepingpaint, capture expressively,the drama of the Scottishlandscape.
Here the rich colours of theautumnal palette: russet red,gold and blue-grey areapplied almost in a patchworkwith blocks of jewelled colouragainst the earthy tones. Thesuggestion of sheep in thelandscape is merely hinted atand the landscape itself isloosely defined. In the centreof the composition, a darkrectangle suggests anoutbuilding beside a fence. Bypainting with energy andperhaps a degree of abandon,the landscape becomes alivewith expression - piecingtogether the details of thescene is left to the viewer’simagination.
205 FG255/1JOAN EARDLEY R.S.A.(SCOTTISH 1921-1963)CATTERLINEPastel
20cm x 25.5cm (8in x 10in)
£3,000-5,000
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206§ FG289/4JOAN EARDLEY R.S.A.(SCOTTISH 1921-1963)WINTERPastel
16.5cm x 21.5cm (6.5in x 8.5in)
Provenance:The artist’s studio ED405
£2,500-3,500
207§ FF924/2MARY ARMOUR R.S.A.,R.S.W., R.G.I.(SCOTTISH 1902-2000)STILL LIFE WITH PINK ROSESigned and dated ‘70, oil oncanvas
61cm x 61cm (24in x 24in)
Note:Label states “I purchased thispainting at the ‘William and MaryArmour Retrospective’ at the LillieArt Gallery, Milngavie, September1971, no. 58.”
£4,000-6,000
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208§ FF889/3JOHN MACHLAUCHLANMILNE R.S.A.(SCOTTISH 1886-1957)EASDALESigned, oil on board
41cm x 51cm (16in x 20in)
£10,000-15,000
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209§ FF537/1JAMES KAY R.S.A., R.S.W.(SCOTTISH 1858-1942)LA GROSSE HORLOGE,ROUENSigned, oil on board
31.5cm x 25.5cm (12in x 10in)
£3,000-5,000
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‘As far back as I canremember I loved paintingwhite‘ Anne Redpathreflected..‘when I was astudent in Italy, when I had aroom in a pensione on theLugarno in Florence and thewalls were white, rough whiteplaster. There was a gay,orange and red rug hung on awall .... coming from the heatof Florence in summer to thiscool room with the shutterskeeping out the heat, and thelovely bit of colour which hadfar more intensity because itwas against white’. Thecalming effects of white aswell as its ability to highlightthe colours around it areadeptly demonstrated inTulips in a White Jug.
During the 1940s Redpathused white with blue, lilac and
210§ FF887/1ANNE REDPATH O.B.E.,R.S.A., A.R.A., A.R.W.S.,R.O.I.,R.B.A., L.L.D.(SCOTTISH 1895-1965)TULIPS IN A WHITE JUGSigned, signed and inscribedverso, oil on board
51cm x 43cm (20in x 17in)
Literature:Illustrated cover and plate 27 of'Redpath', by Patrick Bourne, pub.Atelier Books, 1989 as 'White Tulipsin a White Vase'
£70,000-90,000
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mauve, delighting in the manyshades that this paletteoffered, allowing her to enjoythe physical expressiveness ofoil paint, its texture and thevisible signs of her brushworkwhich stand out on a whitesurface better than any other.At this time she alsoemployed a technique ofsoaking the oil out of thepaints so that the pigmenthad a chalky finish, similar tofresco painting.
Despite the pale palette, thereis quiet, solid strength in herstill life paintings of the1940s. Tulips in a White Jug,is highlighted as an exampleof this by Redpath’sbiographer, Patrick Bourne,who, (illustrating the paintingon the front cover) wrote ‘itsuccessfully conveys animpression of mass and afeeling of sculptural quality.The objects seem to occupytheir own definite space, anillusion in complete contrastto her later paintings wherethe objects appear to floatand the space has beenflattened’.
The simplicity of thiscomposition: three white
tulips in a white vase on awhite cloth is beguiling.Closer inspection reveals thatthe cloth is patterned withletters. Patterns found onrugs, tablecloths and paintedfurniture feature in many ofRedpath’s paintings. Herfather was a textile weaverand his designs had a lastingeffect on her; in some ofRedpath’s paintings thecolourful motifs woven intorugs and cloths appear tojump off the fabric surface.Here, however, the pattern issubtle - a means of breakingup the white surface andintroducing a touch of pink.
A resonating harmony isachieved through Redpath’sperfect placing of objects, thelight, shadows and colour andthe energy with which thepaint is applied, in dabs ofoverlapping patches, blueupon blue, white upon white.There is a timelessness inTulips in a White Jug whichallows the painting to be seenas both classical and modern.Deceptively simple at firstglance, it has enduringappeal.
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Adam, E., 16, 18Adam, P.W., 159Alexander, R., 76Allan, R.W., 55Ansdell, R., after, 144Armour, M., 201. 207
Bale, T.C., 141Bartlett, W.H., 59Bell, R.A., 103, 108Bellany, J., 190, 191, 195, 203Bird, M.H., 79Blackadder, E., 199, 200Blacklock, W.K., 140Bough, S., 58Bouvard, A., 171Boyd, J.G., 187, 188British School, 31Brough, R., 138Brown, A.K., 152Brown, W.M., 134Burns, R., 102
Cadell, F.C.B., 196, 197Cameron, D., 89Cameron, K., 127Cameron, Sir D.Y., 57Chalmers, G.P., 49Chalmers, H., 145Chinese School, 20Coventry, R.M., 165Crawford, E.T., 17Creswick, T., 13Cursiter, S., 12
Dalou, A.J., 124Dawson, H.T., 5de Breanski, A. Snr., 52, 91,158
de Lajoue, J., attributed to, 26de Leeuw, A., 97Deans, S.R.L., 101Degas, E., 116Derain, A., 115, 117, 118, 119
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Ramsay, A., 32Redpath, A., 210Reid, A.D., 56, 146Reid, J.R., 40, 143Reid, Sir G., 33Roerich, S.N., 167
Sargent, J.S., 65Sawyer, D., 169, 170Scott, H., 157, 160Shayer, W.J., 50Simonsen, N., 73Smit, A., 23Smith, G., 37, 54Smith, S., 66Sticks, G.B., 136, 156Sutherland, D.M., 109
Tarbet, J.A.H., 39Terris, J., 87Thorburn, A., 77Tromp, J.Z., 60, 61
van Bloemen, J.F., attributedto, 28
van der Poel, E., circle of, 21Vaughan, K., 180, 181von Sandrart, J. the Elder, 25
Walls, W., 74, 75, 151Webb, J., 98Weiland, J., 63Weissenbruch, W.J., 34Wilson, J.H. (Jock), 45Wilson, R., circle of, 22
Young, A., 148
Zoffany, J.J., circle of, 30
Jaritz, J., 178
Kay, A., 14Kay, J., 88, 135, 209Knight, Dame L., 162
la Touche, G., 104-107Lamond, W.B., 166Landseer, Sir E.H., 48Lemon, A.D., 65Lhermitte, L.A., 153Lintott, H.J., 72Long, E., 70
Macnee, R.R., 11Mactaggart, Sir W., 193Macwhirter, J., 6Maillol, A., 112, 113, 114Marlow, W., manner of, 27Mason, F.H., 82Maufra, M., 111McClure, D., 182McCuloch, H., 99McGregor, R., 132, 133McNicol, B., 125McTaggart, W., 9Milne, J.M., 184, 202, 208Morrocco, A., 183Morton, T.C., 155
Nicholson, W., 179Noble, R., 100
Park, S., 128-131Paterson, J., 36Paterson, J., 85Paton, Sir J.N., 139Paton, W.H., 10, 53Patrick, J.M., 83, 84Philipson, Sir R., 192, 198Pieters, E., 62Piper, J., 121, 122Powell, C.M., attributed to, 19Pratt, W., 163
Douglas, Sir W.F., 92-96Downie, P., 86Dudgeon, T., 1Duncan, J., 173Dunlop, R.O., 172
Eadie, R., 150Eardley, J., 204, 205, 206Ebersteins, H., 71Epstein, Sir J., 120, 123Ewbank, J.W., attributed to, 15
Faed, J. Jnr., 7Farquharson, D., 2, 42, 44Fraser, A., 164Frazer, W.M., 67, 90Fulton, D., 69
Gauld, D., 154, 161Gear, W., 189Gibson, W.A., 4, 43, 46Gillies, Sir W.G., 185, 186Grevenbroeck, O., follower of,24
Guayasamin, O., 168Gullaumin, A., 110Gunn, Sir H.J., 177
Hals, D., attributed to, 29Hankey, W.L., 176Hanna, N., 194Hansen, H., 80, 81Henderson, J., 3, 147Henry, D.M.R., 78Herald, J.W., 126Herdman, R., 35Hope, R., 41, 137Houston, G., 38Hunter, C., 149Hurt, L.B., 8, 51, 68, 142Hutchison, R.G., 64, 174, 175
Isabey, L.G.E., 47
Index
Contemporary & Post War ArtWednesday, 19th March, 201433 Broughton Place, Edinburgh EH1 3RR
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WILLIAM GEAR(SCOTTISH 1915-1997)STRUCTURE WITH YELLOWSigned, inscribed and dated'71 verso, oil on canvas
152.5cm x 101.5cm (60in x 40in)
£5,000-7,000
EnquiriesCharlotte RiordanTel: +44 (0)131 557 [email protected]
Nick CurnowTel: +44 (0)131 557 [email protected]
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Fine Scottish Painting & SculptureThursday, 22nd May, 201433 Broughton Place, Edinburgh EH1 3RR
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CHARLES HODGE MACKIE R.S.A., R.S.W.(SCOTTISH 1862-1920)THE RETURN OF THE FLOCK TO THE FOLDSigned, oil on canvas
152.5cm x 152.5cm (60in x 60in)
£8,000-12,000
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JOHN DUNCAN FERGUSSON R.B.A(SCOTTISH 1874-1961)EASTRE (HYMN TO THE SUN)Bronze
40cm (15.75in) high
£12,000-18,000
EnquiriesEmily JohnstonTel: +44 (0)20 7930 [email protected]
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5. VALUE ADDED TAX
Value Added Tax on the hammer price isimposed by law on all items affixed withan asterisk (*) or dagger (†). Value AddedTax is charged at the appropriate rate
prevailing by law at the date of sale and ispayable by buyers of relevant lots.
6. PAYMENT
(1) Immediately a lot is sold you will:
(a) pay to us the total amount due in cashor in such other way as is agreed by us.We accept cash, bank transfer (details onrequest), Switch or Debit Cards and Visaor MasterCard (please note there is asurcharge of 2% (VAT included) whenusing credit cards). We do not acceptAmerican Express.
(2) any payments by you to us may beapplied by us towards any sums owingfrom you to us on any account whateverwithout regard to any directions of you oryour agent, whether express or implied.
7. TITLE AND COLLECTION OFPURCHASES
(1) The ownership of any lots purchasedshall not pass to you until you have madepayment in full to us of the total amountdue.
(2) You shall at your own risk and expensetake away any lots that you havepurchased and paid for not later than fourworking days following the day of theauction or upon the clearance of anycheque used for payment after which youshall be responsible for any removal,storage and other associated charges.
(3) No purchase can be claimed orremoved until it has been paid for.
(4) It is the buyer’s responsibility toascertain collection procedures,particularly if the sale is not being held atour main saleroom and the potentialstorage charges for lots not collected bythe appropriate time.
8. REMEDIES FOR NON-PAYMENT ORFAILURE TO COLLECT PURCHASES
(1) If any lot is not paid for in full and takenaway in accordance with these Conditionsor if there is any other breach of theseConditions, we, as agent for the seller andon their behalf, shall at our absolutediscretion and without prejudice to anyother rights we may have, be entitled toexercise one or more of the followingrights and remedies:
(a) to proceed against you for damages forbreach of contract;
(b) to rescind the sale of that lot and/orany other lots sold by us to you;
(c) to resell the lot (by auction or privatetreaty) in which case you shall beresponsible for any resulting deficiency inthe total amount due (after crediting anypart payment and adding any resale costs).Any surplus so arising shall belong to theseller;
(d) to remove, store and insure the lot atyour expense and, in the case of storage,either at our premises or elsewhere;
(e) to charge interest at a rate of 1.5% permonth above the current base rate on thetotal amount due, to the extent it remainsunpaid for more than four working daysafter the sale;
(f) to retain that or any other lot sold toyou until you pay the total amount due;
(g) to reject or ignore bids from you oryour agent at future auctions or to imposeconditions before any such bids shall beaccepted;
(h) to apply any proceeds of sale of otherlots due or in future becoming due to youtowards the settlement of the total amountdue and to exercise a lien (that is a right toretain possession of) any of your propertyin our possession for any purpose until thedebt due is satisfied.
(2) We shall, as agent for the seller andon their behalf pursue these rights andremedies only as far as is reasonable tomake appropriate recovery in respect ofbreach of these Conditions
9. THIRD PARTY LIABILITY
All members of the public on ourpremises are there at their own risk andmust note the lay-out of theaccommodation and securityarrangements. Accordingly neither theauctioneer nor our employees or agentsshall incur liability for death or personalinjury (except as required by law by reasonof our negligence) or similarly for thesafety of the property of persons visitingprior to or at a sale.
10. COMMISSION BIDS
While prospective buyers are stronglyadvised to attend the auction and arealways responsible for any decision to bidfor a particular lot and shall be assumedto have carefully inspected and satisfiedthemselves as to its condition we shall ifso instructed clearly and in writing executebids on their behalf. Neither theauctioneer or our employees or agentsshall be responsible for any failure to doso. Where two or more commission bidsat the same level are recorded we reservethe right in our absolute discretion toprefer the first bid so made.
11. WARRANTY OF TITLE ANDAVAILABILITY
The seller warrants to the auctioneer andto you that the seller is the true owner ofthe property consigned or is properlyauthorised by the true owner to consign itfor sale and is able to transfer good andmarketable title to the property free fromany third party claims.
12. AGENCY
The auctioneer normally acts as agentonly and disclaims any responsibility fordefault by sellers or buyers.
13. TERMS OF SALE
The seller acknowledges that lots are soldsubject to the stipulations of theseConditions in their entirety and on theTerms of Consignment as notified to theconsignor at the time of the entry of thelot.
14. STANDARD VENDOR FEES ANDCHARGES (Subject to VAT)
(1) Commission: 15% of the first £3000 and10% thereafter is charged on the sellingprice of each lot (subject to a minimumcharge of £30). Loss and damagewarranty: 1.5% on value of lots sold.Photography: max £40 mono per lot, max£250 colour. Internet Marketing Service:£10 per lot.
(2) If a vendor wishes to withdraw a lotorganized for sale, a withdrawal fee willapply;
(a) If withdrawn over 28 working days priorto the sale, this will be charged at 10% ofthe mid estimate along with any ancilliaryincurred (such as photography), all subjectto VAT at the current rate.
(b) If withdrawn within 28 working days ofthe sale, this will be charged at 20% of themid estimate along with any ancilliaryincurred (such as photography), all subjectto VAT at the current rate.
15. DESCRIPTIONS AND CONDITION
(1) While we seek to describe lotsaccurately, it may be impractical for us tocarry out exhaustive due diligence on eachlot. Prospective buyers are given ampleopportunities to view and inspect beforeany sale and they (and any independentexperts on their behalf) must satisfythemselves as to the accuracy of anydescription applied to a lot. Prospectivebuyers also bid on the understanding that,inevitably, representations or statementsby us as to authorship, genuineness,origin, date, age, provenance, condition orestimated selling price involve matters ofopinion. We undertake that any suchopinion shall be honestly and reasonably
held and accept liability for opinions givennegligently or fraudulently. Subject to theforegoing neither we the auctioneer or ouremployees or agents or the seller acceptliability for the correctness of suchopinions and all conditions and warranties,whether relating to description, conditionor quality of lots, express, implied orstatutory, are hereby excluded. ThisCondition is subject to the next followingCondition concerning deliberate forgeriesand applies save as provided for inparagraph 6 “information to buyers”.
(2) Private treaty sales made under theseConditions are deemed to be sales byauction for purposes of consumerlegislation.
16. FORGERIES
Notwithstanding the preceding Condition,any Lot which proves to be a deliberateforgery (as defined) may be returned to usby you within 21 days of the auctionprovided it is in the same condition aswhen bought, and is accompanied byparticulars identifying it from the relevantcatalogue description and a writtenstatement of defects. If we are satisfiedfrom the evidence presented that the lot isa deliberate forgery we shall refund themoney paid by you for the lot including anybuyer’s premium provided that (1) if thecatalogue description reflected theaccepted view of scholars and experts asat the date of sale or (2) you personally arenot able to transfer a good and marketabletitle to us, you shall have no rights underthis condition.
The right of return provided by thisCondition is additional to any right orremedy provided by law or by theseConditions of Sale.
GENERAL
17. We shall have the right at ourdiscretion, to refuse admission to ourpremises or attendance at our auctions byany person.
18 (1) Any right to compensation for lossesliabilities and expenses incurred in respectof and as a result of any breach of theseConditions and any exclusions provided bythem shall be available to the sellerand/or the auctioneer as appropriate.
(2). Such rights and exclusions shallextend to and be deemed to be for thebenefit of employees and agents of theseller and/or the auctioneer who maythemselves enforce them.
19. Any notice to any buyer, seller, bidderor viewer may be given by first class mailin which case it shall be deemed to havebeen received by the addressee 48 hoursafter posting.
20. Special terms may be used incatalogue descriptions of particularclasses of items (Books, Jewellery,paintings, guns, firearms etc) in whichcase the descriptions must be interpretedin accordance with any glossary orguidance notes appearing in thecatalogue. These notices and terms willalso form part of our terms and conditionsof sales.
21. Any indulgence extended to biddersbuyers or sellers by us notwithstandingthe strict terms of these Conditions or ofthe Terms of Consignment shall affect theposition at the relevant time only and inrespect of that particular concession only;in all other respects these Conditionsshall be construed as having full force andeffect.
22. Scottish law applies to theinterpretation of these Conditions.
143
Sale Title
Sale Date Sale No.
Title Initials Client No.
Surname
Address
Postcode
Telephone Fax
Client Signature Date
Lyon and Turnbull office use
Date Time By Bidder No.
Received
Entered
Absentee bid form
Sale/customer details
33 Broughton PlaceEdinburgh EH1 3RRTel +44 (0)131 557 8844Fax +44 (0)131 557 8668
182 Bath Street, GlasgowG2 4HGTel +44 (0)141 333 1992Fax +44 (0)141 332 2928e-mail:[email protected]
I request Lyon and Turnbull,without legal obligation of anykind on its part, to bid on thefollowing lots up to the priceslisted.
I understand that if any of mybids are successful the totalprice payable will be theamount of the final bid plus aBuyer’s premium calculated atthe following rates:
25% up to £25,000 /20% thereafter.
VAT will be charged onthe premium.
The premium and VAT ispayable by all purchasers.
Lots in the catalogue marked* or † are subject to VAT on thehammer price as well as thepremium.
Where there are identical bidsfor a lot, the first bid receivedwill be have precedence.
Please make certain that yourbids are submitted at least twohours before the start of thesale.
Please note telephone biddingis only available on lotsestimated at £300 and above.
£ Sterling limitLot.No Description Ex. Premium & VAT
L Y O N & T U R N B U L L
The Winter Paintings Sale
The following expressions with their accompanying explanations are used by Lyon & Turnbull asstandard cataloguing practice. Our use of these expressions does not take account of thecondition of the lot or the extent of any restoration.
Buyers are recommended to inspect the property themselves. Written condition reports areusually available on request.
Name(s) or Recognised Designation of an Artist without anyQualificationIn our opinion a work by the artist
Attributed to...In our opinion probably a work by the artist in whole or in part.
Studio of ... / Workshop of ...In our opinion a work executed in the studio or workshop of theartist, possible under his supervision
Circle of ...In our opinion a work of the period of the artist and showing hisinfluence.
Follower of ...In our opinion a work executed in the artist’s style but notnecessarily by a pupil.
Manner of ...In our opinion a work executed in the artist’s style but of a laterdate
After ...In our opinion a copy (of any date) of a work of the artist.
Signed ... /Dated ... /Inscribed ... /In our opinion the work has been signed/dated/inscribed by theartist.
BearsSignature ... /Date ... /Inscription ... /In our opinion the signature/date/inscription appears to be by ahand other than that of the artist.
Dimensions are given height before width.
Glossary of Cataloguing Terms
PP
S
QUEEN ST
PRINCES ST
BROU
GHTON
ST
LEIT
HW
ALK
LEIT
HST
Local DeliveriesLocal deliveries can bearranged by A&S PertRemovals.Telephone 07876343520.
Packing and ShippingPlease note that we donot pack or ship items.The following sug-gested carriers will beable to arrange pack-ing and shipping;please contact themdirectly to receive aquote. You may wishto contact an alterna-tive courier.
Smaller items & PicturesMailboxes Etc44/46 Morningside RoadEdinburgh EH10 4BFThe direct link to the orderingform is:http://www.mbeedinburgh.com/art-and-antiques.phpTel: +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. 2013. All rights reserved. No part of thispublication may be reproduced, stored in a retrieval system ortransmitted by any form or by any means without the prior writtenpermission of Lyon and Turnbull Ltd.
33 Broughton Place, EdinburghEH1 3RRTel +44 (0)131 557 8844Fax +44 (0)131 557 8668
email. [email protected]
182 Bath Street, GlasgowG2 4HGTel +44 (0)141 333 1992Fax +44 (0)141 332 8240
78 Pall Mall, LondonSW1Y 5ESTel +44 (0)20 7930 9115Fax +44 (0)20 7930 7274
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