Scottish Contemporary & Post War Art | 17th April 2013 11am

Scottish Contemporaryand Post-War Art

Wednesday, 17th April, 201333 Broughton PlaceEdinburgh EH1 3RR

Catalogue: £10

BUYERS’ 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 (artists’ retail 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]

Contemporary Scottish andPost-War Art

Wednesday, 17th April, 2013at 11am

Sale Number LT377

ViewingSunday, 14th April 2pm - 5pmMonday, 15th April 10am - 5pmTuesday, 16th April 10am - 5pmMorning of sale strictly by appointment only

SpecialistsNick [email protected]

Emily [email protected]

Charlotte [email protected]

2

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This symbol § indicates works which

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1st January 2012, this applies to

living artists and artists who have

died in the last 70 years.

This royalty will be charged to the

1§ FB791/2KEN HOWARD R.A.(BRITISH b. 1932)SUNSET, VENICESigned, oil on board

18cm x 23cm (7in x 9in)

£700-900


Scottish Contemporary and

Post-War Art

3

2§ FB791/2BKEN HOWARD R.A.(BRITISH b. 1932)BRIDGE OVER THE CANALSigned, oil on board


£500-700

3§ FE348/67SIR ROBIN PHILIPSON R.A.,R.S.A., R.S.A.(SCOTTISH 1916-1992)CUSTARD APPLESSigned board verso, mixedmedia

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

£300-500



Post-War Art

4

5§ FE348/83IAN FLEMING R.S.A., R.S.W.(SCOTTISH 1906-1994)ON THE ROCKSSigned, ink and wash

38cm x 50cm (15in x 19.5in)

£300-500

4§ FE470/4EARL HAIG O.B.E., R.S.A.(SCOTTISH 1918-2009)BORDER BATTLESigned, watercolour

23cm x 52cm (9in x 20.5in)

Note:Design for the lithograph ‘BorderForay’

£300-400

6§ FE348/46WILLIAM BAILLIE P.R.S.A.,P.R.S.W. (SCOTTISH b. 1923)THE BASS FISHERMANSigned and dated 1960,gouache

53cm x 35.5xm (21in x 14in)

£300-500



Post-War Art

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7§ FE348/60JAMES CUMMING R.S.A.,R.S.W. (SCOTTISH 1922-1996)THE BARKERSigned, mixed media on paper


£400-600

8§ FE342/59SIR ROBIN PHILIPSON R.A.,R.S.A, R.S.W., R.G.I., D.LITT.,L.L.D. (SCOTTISH 1916-1992)VIEW FROM FIESOLESigned and dated ‘51,gouache

37cm x 55cm (14.5in x 21.75in)

£500-800



Post-War Art

6

10§ FE500/4JUNE REDFERN(SCOTTISH b. 1953)JUNE AND KITTY LOOKINGFOR SHELLSSigned, inscribed and dated1975 verso, oil on canvas


£300-500

9§ FD669/9MAUREEN BINNIE(CONTEMPORARY SCOTTISH)A PLACE TO PONDERSigned and dated ‘85, pastel

68.5cm x 115cm (27in x 45.25in)

£400-600

11§ FE499/15DAVID TONER(SCOTTISH 20TH CENTURY)TENEMENTS, KINGSTON,GLASGOWSigned, oil on canvas

96.5cm x 107cm (38in x 42in)

£800-1,200



Post-War Art

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12§ FD768/1ALEXANDER GOUDIE(SCOTTISH 1933-2004)ANNETTESigned, chalk

30cm x 24cm (11.75in x 9.5in)

£300-500

13§ FE348/55GEORGE WYLLIE M.B.E.(SCOTTISH 1921-2012)PAPER BOATSSigned, inscribed and dated1990, impressed print


£250-350

14§ FE478/1ELIZABETH BLACKADDERD.B.E., R.A., R.S.A., R.S.W.,R.G.I., D.LITT(SCOTTISH b. 1931)LANDSCAPESigned, lithograph

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

£300-500



Post-War Art

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16§ FE499/25SIR EDUARDO PAOLOZZI R.A.(BRITISH 1924-2005)LES CHANTS DE MALDORORHand coloured etching, signedand dated 1993, numbered48/50

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

£400-600

15§PAT DOUTHWAITE(SCOTTISH 1939-2002)EXOTIC DANCERCharcoal

60cm x 80cm (23.5in x 31.5in)

£300-500

17§ FB791/27JOHN BELLANY H.R.S.A.,R.A., C.B.E.(SCOTTISH b. 1942)HARBOUR SCENE WITHARTHUR’S SEATSigned, watercolour

54cm x 75cm (21.25in x 30in)

£800-1,200



Post-War Art

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18§ FB791/32JOHN BELLANY H.R.S.A.,R.A., C.B.E.(SCOTTISH b. 1942)DREADNOUGHTSigned, watercolour

54cm x 76cm (21.25in x 30in)

£800-1,200

20§ FE355/2CHRIS BUSHE R.S.W.(SCOTTISH 20TH CENTURY)ROADSIDE CAFÉ, GALAGALDANAMixed media


£500-700



Post-War Art

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19§ FE355/4GLEN SCOULLER(SCOTTISH b. 1950)MENDING NETS OLHAO,PORTUGALSigned, watercolour

54cm x 71cm (21.25in x 28in)

£800-1,200



Post-War Art

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21§† FE149/14ALBERTO MORROCCO R.S.A.,R.S.W., R.P., R.G.I., L.L.D.(SCOTTISH 1917-1998)STILL LIFE WITH MARROWSAND GOURDSSigned and dated ‘95, oil oncanvas


£6,000-8,000

22§ FE290/1MARDIE BARRIE R.S.W.(SCOTTISH b. 1931)CHAIR AT THE WINDOWSigned, oil on canvas


£300-500



Post-War Art

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23§ FE290/2DENIS PEPLOE R.S.A.(SCOTTISH 1914-1993)SUTHERLAND CROFTSigned, oil on canvas


£1,000-1,500

24§ FD740/1GORDON MITCHELL R.S.A.,R.S.W., R.G.I. (b. 1952)BODY PARTSSigned, oil on canvas


£2,000-3,000



Post-War Art

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25§JOHN BELLANY R.A.(SCOTTISH b. 1942)THE CRUCIFIXSigned and numbered III/XV inpencil to margin, etching

48cm x 32cm (19in x 12.5in)

£250-350

26§ FE348/49IAN MCKENZIE SMITH R.S.A.,P.R.S.W. (SCOTTISH b. 1935)ENSOWatercolour

53cm x 78cm (21in x 30.5in)

£300-500

27§ FF38/5PETER HOWSON O.B.E.(SCOTTISH b. 1958)MINERSSigned, pastel


£1,000-1,500



Post-War Art

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28§ FF38/3PETER HOWSON O.B.E.(SCOTTISH b. 1958)NIGHT FALLSigned and dated ‘06, pastel


£600-800

29§ FF2/1JAMES MORRISON R.S.A.,R.S.W., L.L.D.(SCOTTISH b. 1932)BREAKING WAVESSigned and dated 31.xi.2005,oil on board

53cm x 63.5cm (21in x 25in)

£1,000-2,000



Post-War Art

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30§ FE499/41PATRICK CAULFIELD R.A.(BRITISH 1936-2005)SAUSAGE 1978Signed and numbered 3/75,screenprint

75cm x 91cm (29.5in x 36in)

£300-500

31§ FE500/1BRUCE MCLEAN(SCOTTISH b. 1944)HEAD, PIPE AND TORSOSigned, acrylic onphotographic paper


Exhibited:Scottish Gallery 1986, no.67

£300-500

32 FE485/2MICHAEL MORRIS(CANADIAN b. 1942)UNTITLEDSigned and dated ‘65, mixedmedia

34cm x 49cm (13.5in x 19.25in)

£500-700



Post-War Art

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33§ FE500/7FRANCIS BACON R.A.(BRITISH 1909-1991)GRAND PALAIS 1972Offset lithograph


£800-1,200

34§ FE499/38SEAN SCULLY(IRISH/AMERICAN b. 1945)LARGE MIRROR IIEtching and aquatint, signed,inscribed and dated ‘97,numbered 35/40

90cm x 62cm (35.5in x 24.5in)

£1,000-1,500



Post-War Art

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35§ FE500/30ALEXANDER FRASER R.S.A.,R.S.W. (b. 1940)DRAWING FOR THE LARGEPAINTING NO. 7Oil on board

135cm x 99cm (53in x 39in)

£500-800

36§ FF40/1JOHN LOWRIE MORRISONO.B.E. (SCOTTISH b. 1948)WEE CROFT, BARRASigned and dated ‘98, oil onboard


£1,000-1,500



Post-War Art

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37§ FF40/2JOHN LOWRIE MORRISONO.B.E. (SCOTTISH b. 1948)SCARBA FROM LUING,AUTUMNSigned and dated ‘98,signed,inscribed and datedverso, oil on board

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

£400-600

38§ FE499/17PHILIP SUTTON R.A.(BRITISH b. 1928)GLADIOLI WITH FRUITSigned and dated 1975 vero,oil on canvas

127cm x 127cm (50in x 50in)

Provenance:Roland Browse and Delbanco,London

£1,500-2,000



Post-War Art

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39§ FE499/36ROBERT MCLAURIN(SCOTTISH b. 1961)BREAK IN THE CLOUDS,STRIDING EDGELithograph, inscribed H/Cwith embossed EMP stamp

38cm x 57cm (15in x 22.5in)

£300-500

40§ FE500/28ALEKSANDER ZYW(POLISH/SCOTTISH 1905-1995)SHIP’S CONVOYPencil

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

Provenance:The artist’s estate

£300-500

One of the most famousBritish artists of the lastcentury, Bridget Riley’sextraordinary careercontinues unabated, despitethe fact the grand dame of OpArt is now in her 80s. Rileyhas achieved that elusiveartistic ideal; creating a bodyof work as pioneering as it isubiquitous. Her graphic stylecame to epitomise theSwinging Sixties but hercontinued exploration of OpArt’s possibilities has provedit to be fertile ground. Despitefocusing her work in a narrowfield, she has managed toside-step the pitfalls of thecliché.



Post-War Art

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Whilst the results of herpainstaking technique andcareful colour-play display atechnical understandingfirmly rooted in the scientific,Riley firmly asserts that herartistic approach has alwaysbeen intuitive. Beyond theinitial optical illusion, her artsets out to provoke anemotional response in theviewer.

The works in this sale datefrom a period ofexperimentation in the 1990sand early millennium. By thisstage Riley had longabandoned the more rigidmonochromatic structures

associated with her 1960soutput, discovering that the‘lozenge’ forms - featured inseveral of the examples here- endowed her juxtapositionsof form and colour with moremovement and depth thananything she had previouslyachieved. The nature of Riley’swork is to place demands onthe viewer’s gaze but in theselater works the calmerpalette and the playfularabesque forms result in aseries of works which areunequivocally fun and light-hearted to read.

The Herbert Smith Freehills Collection

41 § FE213/72BRIDGET RILEY C.H., C.B.E.(BRITISH b. 1931)ROTHKO PORTFOLIOSigned and dated 1973,artist’s proof, screenprint

80.5cm x 102cm (31.75in x 40in)

Provenance:The Herbert Smith FreehillsCollection

£1,500-2,000

42§ FE213/65BRIDGET RILEY C.H., C.B.E.(BRITISH b. 1931)MAGENTA AND BLUESigned and dated 2002,numbered 25/75, screenprint

117cm x 83.7cm (46in x 33in)


£1,800-2,500



Post-War Art

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43§ FE213/71BRIDGET RILEY C.H., C.B.E.(BRITISH b. 1931)MAGENTA AND GREENSigned and dated 2002,numbered 2/75, screenprint

117cm x 83.7cm (46in x 33in)


£1,500-2,000

44§ FE213/64BRIDGET RILEY C.H., C.B.E.(BRITISH b. 1931)BLUE AND PINKSigned and dated 2001,numbered 83/90, screenprint

53.2cm x 142cm (21in x 56in)


£1,000-1,500



Post-War Art

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45§ FE213/74BRIDGET RILEY C.H., C.B.E.(BRITISH b. 1931)UNTITLED (EVOE)Signed and dated 2003,numbered 4/75, screenprint

56.2cm x 110.4cm (22in x 43.5in)


£1,500-2,000

46§ FE213/102BRIDGET RILEY C.H., C.B.E.(BRITISH b. 1931)SYLVANSigned and dated2000,numbered 59/75,screenprint

97cm x 69.5cm (38.25in x 27.25in)


£1,000-1,500



Post-War Art

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47§ FE213/66BRIDGET RILEY C.H., C.B.E.(BRITISH b. 1931)MAGENTA AND YELLOWSigned and dated 2002,numbered 1/75, screenprint

117cm x 83.7cm (46in x 33in)


£1,500-2,000

48§ FE213/370BRIDGET RILEY C.H., C.B.E.(BRITISH b. 1931)BLUE DOMINANCESigned and dated 1977,numbered 11/100, screenprint

104.4cm x 55cm (41in x 21.75in)


£1,800-2,500



Post-War Art

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49§ FE213/741BRIDGET RILEY C.H., C.B.E.(BRITISH b. 1931)ECHOSigned and dated 1998,numbered 16/75, screenprint

77.5cm x 60cm (30.5in x 23.5in)


£1,500-2,000

50§ FE213/680MANUEL ROMERO(SPANISH b. 1943)ALGORIA A LA LIBERTADSigned and dated 1989, oil oncanvas, circular

162.5cm (64in)

Exhibited:Royal College of Art, Degree Show1989; The Herbert Smith FreehillsCollection

£800-1,200



Post-War Art

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51§ FE213/684GWYTHER IRWIN(BRITISH b. 1931)UNIVERSAL JOINTDated 1987, oil on canvas

175.5cm x 213cm (69in x 83.75in)


£3,000-5,000

52§ FE213/660MARK FAIRNINGTON(BRITISH b. 1956)WITHOUT SHAME -MIRABILIS ECHINOSTOMASigned and dated 2001, oil oncanvas

155.3cm x 94.3cm (61in x 37.5in)


£1,500-2,000



Post-War Art

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53§ FE213/659MARK FAIRNINGTON(BRITISH b. 1956)FROM THE BEETLES TO THEIDOLMANTISSigned and dated 2006, oil onpanel

109cm x 85.5cm (43in x 33.5in)


£1,500-2,000



Post-War Art

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54§ FE213/675ANTHONY WISHAW R.A.(BRITISH b. 1930)PICNICDated 1990, acrylic and mixedmedia on canvas

173cm x 204cm (68in x 80.25in)

Provenance:Nicola Jacobs Gallery, London; TheHerbert Smith Freehills Collection

£1,000-1,500

55§ FE213/630SUSAN DERGES(BRITISH b. 1955)STARFIELD HAWTHORNDated 2003, unique dyedestruction print

177.7cm x 69cm (70in x 27in)

Provenance:Purdy Hicks Gallery, London; TheHerbert Smith Freehills Collection

£3,000-5,000

The career of Patrick Heron islargely associated with the StIves School, an artist’s colonyformed around the Cornishstudios of abstractionists BenNicholson and BarbaraHepworth in the late 1930s. Itis to the generation ofyounger artists who gravitatedthere post-WW2 that the termgenerally refers.

Heron had been brought up inCornwall for much of his life,meeting Nicholson at theLeach Pottery in St Ivesduring his inter-war yearsspent as a conscientiousobjector. Like the othermembers of the school,Heron’s attraction to plains ofcolour and simplification of



Post-War Art

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56§ FE213/89PATRICK HERON(BRITISH 1920-1999)JANUARY 1973:3Signed and dated 1973 ,artist’s proof, screenprint

74cm x 96.5cm (29in x 38in)


£2,000-3,000

form was primarily influencedby the French ModernsMatisse and Braque, andsecondarily by the concurrentartistic developments of theAbstract Expressionists in theU.S.A.

Heron was particularlyimpressed with the boldnessof the scale on which Rothkoand his group worked. Largecanvases would increasinglybecome an aspect of Heron’sown oeuvre, as would acharacteristic ‘flatness’ ofshape, form and colour.Tonally, his earlier workcontains echoes of Nicholsonand his British precursors.Latterly, however, Heronwould go on to embrace an

almost cartoon-ish palette offlat primary shades whichengage with the aesthetic ofPop Art.

His work, though abstract,always referenced reality andremained readable to theviewer; the aim being topresent the audience with anew a way of seeing.

Heron was also a respectedart critic, theorist and author,contributing to the NewStatesman, StudioInternational and TheGuardian, as well asproducing monographs onfellow artists George Braqueand Ivon Hitchens.



Post-War Art

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57§ FE213/87PATRICK HERON(BRITISH 1920-1999)COMPOSITIONSigned and dated 1973,numbered 3/72, screenprint

72.5cm x 95.3cm (28.5in x 37.5in)


£2,000-3,000

59§ FE213/546PATRICK HERON(BRITISH 1920-1999)MAGENTA DISC, RED EDGESigned and dated 1970,numbered, screenprint

75.5cm x 106.5cm (30in x 42in)


£1,500-2,000

58§ FE213/405PATRICK HERON(BRITISH 1920-1999)UMBER DISC, RED EDGESigned and dated 1970,artist’s proof, screenprint

75.8cm x 106.5cm (30in x 42in)


£1,500-2,000

60§ FE213/85PATRICK HERON(BRITISH 1920-1999)UNTITLED FROM THEROTHKO SERIESSigned and dated ‘72, artist’sproof, screenprint

68cm x 91cm (26.75in x 36in)


£2,000-3,000



Post-War Art

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61§ FE213/613WILLIAM SCOTT O.B.E., R.A.(IRISH 1913-1989)CUP AND BLUE PANSSigned and dated 1970,artist’s proof, screenprint

77.2cm x 107.5cm (30.5in x 42.25in)


£3,000-5,000

62§ FE213/446NICHOLAS HELYHUTCHINSON(BRITISH b. 1955)STILL LIFE WITH TIE ANDLEMONSSigned, watercolour

97.25cm x 77.5cm (38.25in x 10.5in)


£500-800



Post-War Art

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63§ FE213/447NICHOLAS HELYHUTCHINSON(BRITISH b. 1955)FIGURE BY THE SEASigned, watercolour

90.5cm x 75.5cm (35.5in x 29.5in)


£500-800

65§ FE213/634DERRICK GREAVES(BRITISH b. 1927)SHADOWSSigned and dated 1971,acrylic on canvas

87cm x 107cm (34.5in x 42in)


£3,000-5,000



Post-War Art

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64§ FE213/665DERRICK GREAVES(BRITISH b. 1927)LAOCOONSigned and dated 2001, oil oncanvas

112.2cm x 171.8cm (44in x 67.5in)


£2,000-3,000

66§ FE213/740BARBARA HEPWORTHC.B.E., R.A. (1903-1975)MOONPLAYSigned and dated 1970,numbered 82/100, screenprint

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


£800-1,200



Post-War Art

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67§ FE213/152BARBARA HEPWORTHC.B.E., R.A. (1903-1975)COMPOSITION IN BLUE ANDGREENSigned and dated 1970, no.6/20, lithograph

100cm x 78.5cm (39in x 31in)


£600-800

68§ FE213/801ALBERT IRVIN R.A.(BRITISH b. 1922)MAGDALENSigned and numbered 8/125,screenprint

111cm x 138cm (43.75in x 54.25in)


£200-300



Post-War Art

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70§ FE213/110JULIA BURNS (BRITISHCONTEMPORARY)ORANGESOil on canvas

106.5cm x 112cm (42in x 44in)


£400-600

69§ FE213/678ALBERT IRVIN R.A.(BRITISH b. 1922)HOLYROOD 1Signed and numbered 91/95,screenprint

146cm x 114cm (57.5in x 45in)


£200-300

Due to the outbreak of WW2,Frost’s path as an artist wassomewhat unorthodox.Though he harboured alifelong interest in art, he didnot begin painting in earnestuntil he became a prisoner ofwar in Germany, anexperience that served assomething of an epiphany.Upon his return to the UK,Frost enrolled in both theCamberwell School of Art andthe St Ives School, despite thefact he was in his thirties andhad a young family to support.He was greatly encouraged bya period spent as assistant tosculptor Barbara Hepworth in1951.



Post-War Art

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canvases. Throughout hiscareer Frost committedhimself time and again toexploration of the potential ofsimple linear and circularforms. The works representedin this sale demonstrate thediversity and imagination withwhich he was able to imbuethe apparently simplest ofcompositions.

Frost was knighted in 1998 inrecognition of the impact ofhis work on the landscape ofBritish art, and was honouredwith a major retrospective bythe Royal Academy in 2000.

Initially adopting a Realisttechnique as a member of theEuston Road School, Frostsoon followed his naturalimpulses towards abstractionand, alongside otherprominent figures includingPatrick Heron, William Scottand Roger Hilton, became aleader of the mid-centuryBritish avant-garde.

A great lover of life, Frost’s artbrims with his enthusiasm forthe world around him; hiswork often inspired by thesea, sky and light of theCornish coast. His palette wasunswervingly joyous and hispassion radiates from his

71§ FE213/404SIR TERRY FROST R.A.(BRITISH 1915-2003)RED, BLUE, GREENSigned and dated 1972,numbered 23/65, lithograph

84.5cm x 114.5cm (33in x 45in)


£800-1,200

72§ FE213/331SIR TERRY FROST R.A.(BRITISH 1915-2003)UNTITLEDSigned, numbered 66/125,screenprint

118cm x 74.5cm (46.5in x 29.25in)


£1,000-1,500



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73§ FE213/175SIR TERRY FROST R.A.(BRITISH 1915-2003)ORANGE AND BLUE Q,NEWLYNSigned and no. 61/150,silkscreen print

76.5cm x 76.5cm (30in x 30in)


£600-800

74§ FE213/685SIR TERRY FROST R.A.(BRITISH 1915-2003)MOON BLUESigned and dated 1989, oil oncanvas

169.5cm x 169.5cm (66.5in x 66.5in)


£8,000-10,000



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75§ FE213/167ROGER CHAPELET(FRENCH 1903-1995)SIR LANCELOTSigned, oil on canvas

71cm x 102cm (28in x 40in)


£1,000-1,500



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76§ FE500/2PETER WHITE(BRITISH b. 1941)DRUMMER BOYSigned, inscribed and dated1990 on the backboard

122cm x 142cm (48in x 56in)

£500-800

OtherProperties

77†§ FE149/9*ELIZABETH BLACKADDERC.B.E., R.A., R.S.A., R.S.W.,R.G.I., D.LITT(SCOTTISH b. 1931)GREEN LANDSCAPESigned, pencil andwatercolour


£2,000-3,000



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78§ FB791/17JOHN BELLANY H.R.S.A.,R.A., C.B.E.(SCOTTISH b. 1942)WOMAN AND GULLSigned, oil on canvas,unframed


£2,000-3,000



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79§ FB791/15JOHN BELLANY H.R.S.A.,R.A., C.B.E.(SCOTTISH b. 1942)THE BOSPHORUSSigned, signed and inscribedverso, oil on canvas,unframed

75cm x 101.5cm (30in x 40in)

£2,000-3,000



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80§ FD706/1CHRISTINE MCARTHURR.S.W., R.G.I.(SCOTTISH b. 1953)GOLD FISH IN PALE WATERYSigned, acrylic on canvas


£700-900



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81§ FD706/2CHRISTINE MCARTHURR.S.W., R.G.I.(SCOTTISH b. 1953)CACTUS ON TABLESigned, acrylic on canvas


£700-900

82§ FD760/1DOUGLAS THOMSON(SCOTTISH b. 1955)SULLEN DAMESigned, inscribed and dated1996 verso, oil on canvas

107cm x 91cm (42in x 36in)

£600-800



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83§ FD760/2DOUGLAS THOMSON(SCOTTISH b. 1955)THE REAPERSigned and inscribed verso,oil on canvas, unframed

68.5cm x 53.5cm (27in x 21in)

£500-700

84§PAT DOUTHWAITE(SCOTTISH 1939-2002)FIGURE WITH SPANNERCharcoal

65cm x 51cm (25.5in x 20in)

£300-500



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85§PAT DOUTHWAITE(SCOTTISH 1939-2002)HEAD STUDYSigned and dated '87,charcoal


£300-500

86§ FA926/1DAVID BREUER-WEIL(BRITISH b. 1965)CAUGHTSigned and inscribed ‘May 181999, Geneva’, pencil

26cm x 32cm (10.25in x 12.5in)

£2,000-3,000



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87§ 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)

£2,000-3,000



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88§ FE355/3JOAN GILLESPIE(SCOTTISH 20TH CENTURY)PAVEMENT CAFÉSigned, oil on board


£500-700

89 FE499/18HAIDEE BECKER(AMERICAN b. 1950)BLUE LILIES 11Signed, signed, inscribed anddated 1995 verso, oil oncanvas

140cm x 119.5cm (55in x 47in)

£1,500-2,000



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90§ FE485/1CERI RICHARDS(WELSH 1903-1971)GREEN METAPHORSigned ,dated ‘65 andnumbered 2/50, lithograph

81cm x 59cm (32in x 23.25in)

£400-600



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91§ FE499/33CHARLES MCCARTHY(BRITISH 20TH CENTURY)KITCHEN TABLE WITHLEMONSSigned and dated ‘93, oil oncanvas


Exhibited:Cadogan Contemporary, London

£400-600

92 FA913/7NYOMAN GUNARSA(INDONESIAN b. 1944)TWO CHIEFTAINSSigned and dated 1988, oil oncanvas

142cm x 142cm (56in x 56in)

Provenance:NEKA Gallery, Ubud, Bali, 1992

Note:One of leading Balinese artiststoday. This painting was one of aseries conceived from the legendary“Hindu Dharma” epics, and thelimed teak frame is also the work ofthe artist.

£2,000-4,000



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93§ FE456/1SIR TERRY FROST(BRITISH 1915-2003)THAMAR AND AMNON12/75, monotype

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

and a printed copy of thepoem which inspired the work

£800-1,000



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94§ FE450/2CALUM COLVIN O.B.E., R.S.A.(SCOTTISH b. 1961)THE KISSEdition of 4, cibachrome print

70cm x 53.5cm (27.5in x 21in)

£800-1,000

95§ FF38/6PETER HOWSON O.B.E.(SCOTTISH b. 1958)GUILTY CONSCIENCESigned, pastel


£1,000-1,500



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96§ FE500/26WILLIAM GEAR(SCOTTISH 1915-1997)BLUE VERTICALSigned and dated 1970, oil onpaper

53.5cm x 33cm (21in x 13in)

£800-1,200

97§ FD669/7DANNY FERGUSON(SCOTTISH 1925-1993)HIGHLAND FORESTOil on board

0cm x 90cm (23.5in x 35.5in)

£1,000-1,500



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98§ FE736/2NAEL HANNA(SCOTTISH/IRAQUI b. 1959)CLIFFS, MOONLIGHTSigned, oil on canvas

28cm x 98cm (11in x 38.5in)

£1,000-1,500

99§ FE643/1SIR ROBIN PHILIPSON R.A.,R.S.A., R.S.W., R.G.I., D.LITT.,L.L.D. (SCOTTISH 1916-1992)FIGURES AND ABSTRACT 1Signed and dated ‘89, oil onboard


£1,800-2,500



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100§ FE488/1JOHN HOUSTON R.S.A.,R.S.W. (SCOTTISH 1930-2008)SUNSET OVER THE SEASigned, watercolour

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

£600-800

101§ FE77/8NAEL HANNA(SCOTTISH / IRAQUI b. 1959)STORM AT SEASigned, oil on board

46cm x 68.5cm (18in x 27in)

£600-800



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102§ FB791/87MAURICE COCKRILL(BRITISH b. 1946)VENUSOil on paper

39.5cm x 57.5cm (15.5in x 22.5in)

Exhibited:Walker Art Gallery, Liverpool,Maurice Cockrill 1995, no.32,illustrated in the catalogueDjanogly Art Gallery, Nottingham1995 (as above)

£400-600

103§ FD753/2JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)RAISED BEACHES COLONSAYSigned, inscribed and dated1979 on a label verso, oil oncanvas


£1,500-2,500



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Richard Demarco O.B.E. is anEdinburgh artist and artpromoter who has played acrucial role in placingEdinburgh on the map as aninternational arts hub,significantly contributing tothe development of theEdinburgh Fringe festival. Aco-founder of the TraverseTheatre in 1963, Demarcowent on to run the RichardDemarco Gallery between theyears 1969-1992. As well asnurturing young native talentincluding artists such asDamien Hirst, his mostoutstanding achievement hasbeen the promotion ofEastern European artistsduring the Cold War;strengthening ties betweenthe UK and countries likePoland, Romania andYugoslavia. In particular,Demarco provided a WesternEuropean platform for thecareers of the nowinternationally renowned andcritically lauded avant-gardeartists Joseph Beuys, TadeuszKantor, Paul Neagu andMarina Abramovich.Throughout the 70s and 80sDemarco hosted famouslyunorthodox ‘SummerSchools’, creating a meltingpot of ideas andcollaborations between localand international artists.

The collection on showpertains to this important



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is a unique cultural record ofthe latter part of the 20thCentury. Because of itssignificance as a study andresearch resource, Lyon &Turnbull are offering thecomplete Collection andArchive for private treaty saleby negotiation so as tomaintain the collection andarchive as one. Otherwise, asignificant body of thecollection will be auctioned inmultiple lots as part of thissale.

We are grateful to WilliamJackson, Proprietor andManaging Director of AitkenDott, Edinburgh, 1975-1992,for his assistance in collatingand promoting the archive.

sculptures, all of which reflectthe energy and range of theDemarco Gallery’s activities,and represent a unique recordof the exhibition programmeduring this period. Localheroes include works byByrne, Crozier, Demarco,Douthwaite, Hamilton Finlay,Hanson, Howson, Knox,McCann, McNeish, Wyllie andYule. The Internationalistsinclude works by Beuys,Christo, Flanagan, Hambling,Neagu, Newcomb,Rabinowitch, Swan andUecker.

The collection Jane andJustin built up over the yearswith the guidance andsupport of Richard Demarco

period in Scottish, and indeed,European art. JaneMacAllister, initiallyDemarco’s assistant andultimately the Deputy ArtisticDirector of The DemarcoGallery in its latter phase, co-orchestrated the exhibitionsand events based around thegallery. In 1990 Jane marriedJustin Dukes, joint ManagingDirector of the FT Group andfounding Managing Directorof Channel 4. Before Justin’stragically early death in 2008the couple built up anextensive collection ofcontemporary art.

The collection consists of over150 paintings, works onpaper, prints, posters and

Jane MacAllister-Justin Dukes Art Collectionand Archive

Jane MacAllister and the poet Sorley Maclean.

104§ FE400/6JOHN BYRNE R.S.A.(SCOTTISH b. 1940)TUTTI FRUTTI, 25THANNIVERSARY TOURSigned and inscribed, mixedmedia


£700-1,000



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105 FE400/6520TH CENTURY SCOTTISHSCHOOLTATTOO THEATREScreenprint, 1986

91cm x 68.5cm (36in x 27in)

£300-500

106§ FE400/14MAGGI HAMBLING(BRITISH b. 1945)STUDY FOR UNTITLEDSigned and dated ‘86,inscribed and dated 1990verso, pencil


£400-600



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108§ FE400/11BARRY FLANAGAN(WELSH 1941-2009)O’REMBRANDT SERIESSigned, inscribed and dated1970, numbered 4/30, etchingand aquatint


£150-250

107§ FE400/1GEORGE WYLLIE A.R.S.A.(1921-2012)HAPPENING IN THE CITYSigned, inscribed with titleand dated 1978, pen and ink


£300-500

109§ FE400/52WILLIAM CROZIER(IRISH/SCOTTISH 1930-2011)VINE AND PIT SERIESSigned and dated 1963,gouache

63.5cm x 45.5cm (25in x 18in)

£600-900



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110§ FE400/56ALASTAIR PARK(SCOTTISH 1930-1984)LEFT RIGHT, RIGHT LEFTDated 1982, drawing on wax


£400-600

As controversial as he wasinfluential, Joseph Beuyspushed the boundaries ofWestern contemporary artfrom the 1950s until his deathin 1986. Loosely definable asa sculptor/installation/performance artist, Beuysapproached his work in aspiritual fashion and soughtto connect with and ‘heal’ hisaudience through, as he sawit, art’s restorative powers. Viahis self-created persona ofthe artist as teacher/shaman,Beuys popularised the anti-commoditisation of art,promoting creativity assomething to be experiencedby everyone in the everyday.Alongside a selection of



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famous installation pieces,the majority of his work wasto be experienced as ‘actions’,the remnants of which existas photographs, recordings,props and other forms ofdocumentation. The influenceof his ethos on continuedcontemporary German, andindeed European, art practiseremains hugely relevant today.

Beuys’ connection withScotland was initiated in 1970by Richard Demarco. Demarcobecame aware of theextraordinarily progressivevisual art activity inDusseldorf at the time anddecided to approach its keyprotagonists and talents. Hisconcept was to stage a

Festival exhibition entitledStrategy: Get Arts, to be heldin the Edinburgh College ofArt. It was to serve asinstructive to the art studentsof tomorrow and enlightenthe British art world to theavant-garde developmentstaking place out with the UK.Thirty five artists participatedincluding Blinky Palermo,Sigmar Polke, GerhardRichter, Dieter Rot, GüntherUecker and, in a real coup forDemarco, Joseph Beuyshimself. Their brief was tocreate new work in directresponse to their experienceof Scotland.

Beuys created an actionwhich he entitled ‘Celtic(Kinloch Rannoch): a ScottishSymphony’. Performed foreight hours a day for sixconsecutive days, it involvedperformance and projectionsset to a soundscape byHenning Christiansen. Beuyswas greatly drawn to thewilds of North West Scotlandand found much to inform hisinterest in Celtic tradition andfeed his innate sense ofconnection to the

environment. Thisremarkable association withScotland would continue rightup until the artist’s last years,during which time he createdworks inspired by BarlinniePrison’s Special Unit andGreyfriar’s Bobby. To Beuys,Scotland was the ‘key’ toEurope’s Celtic history, aperiod, in Beuy’s mind,entwined with the root of thehuman condition and theelemental. Germany’s Celticpast held extremely negativeassociations at this time dueto its appropriation by theNazis. Beuys sought toreclaim it and foundinspiration in Scotland as acountry that understood theimportance of looking to itspast in order to forge a strongfoundation for the future.

The works in this salerepresent aspects of theseseminal excursions toScotland, including ‘Celtic(Kinloch Rannoch): A ScottishSymphony’, which isinternationally andhistorically recognised as oneof the artist’s masterworks.

111§ FE400/2JOSEPH BEUYS(GERMAN 1921-1986)BEUYS IS HEREPoster, signed inscribed anddated ‘To Jane 1970’


£300-500

112§ FE400/109JOSEPH BEUYS(GERMAN 1921-1986)DERNIER ESPACE AVECINTROSPECTEURPoster, signed and dated 1982

72cm x 50cm (28.5in x 19.75in)

£600-800



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113§ FE400/110JOSEPH BEUYS(GERMAN 1921-1986)PLIGHTPoster, signed and dated 1985


£600-800

114§ FE400/70JOSEPH BEUYS(GERMAN 1921-1986)DEMOKRATIEPARTELENSTAATSigned, plastic carrier bag


£600-800



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115§ FE400/45JOSEPH BEUYS(GERMAN 1921-1986)FIRST OF THE GIANTS, NEWBEGINNINGS ARE IN THEOFFINGPhotolithograph, signed andnumbered 147/400

43cm x 35.5cm (17in x 14in)

£800-1,200

116§ FE400/39JOSEPH BEUYS(GERMAN 1921-1986)MEETING WITH LADYROSEBERY ANDBUCKMASTER FULLERColour photogravure, signed,dated 1974 and numbered209/400


£300-500



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117§ FE400/3JOSEPH BEUYS(GERMAN 1921-1986)PORTRAIT OF JOSEPH BEUYSPostcard, signed and dated1981

10cm x 15cm (4in x 6in) each

Two cards framed together

£200-300

118§ FE400/31JOSEPH BEUYS(GERMAN 1921-1986)THE SCOTTISH SYMPHONY /CELTIC KINLOCH RANNOCHPhotograph, signed andnumbered 39/200

134.5cm x 30.5cm (53in x 12in)

£800-1,200



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119§ FE400/67GARY ANDERSON(SCOTTISH b. 1970)BIG BLACK FLAGSigned and inscribed verso,mixed media


£200-300

120§ FE400/10AINSLIE YULE(SCOTTISH b. 1941)FALLEN ANGELSigned, inscribed and dated1986 verso, woodenconstruction

43cm x 33cm x 10cm

(17in x 13in x 4in)

£300-500



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122§ FE400/72RICHARD DEMARCO C.B.E.,R.S.W. (SCOTTISH b. 1930)OLD PORT, LEITH AT SUNSETSigned, inscribed and dated1991, numbered 57/60,screenprint

45.5cm x 62cm (18in x 24.5in)

£300-500

121§ FE400/64RICHARD DEMARCO C.B.E.,R.S.W. (SCOTTISH b. 1930)ON THE OLD COURSE,ST. ANDREWSSigned, inscribed and dated1974, watercolour


£500-700

Best known for his repetitioususe of the humble nail as anartistic prop, Uecker’s artworktransmutes the boundaries ofsculpture, painting,installation, film and design.Originally from East Germany,Uecker elected to pursue anart education in Dusseldorfwhere students were able topractise modernism andexercise a greater freedom ofexpression. He remained herefor many years, teaching atthe Kunstakademie between1974 and 1995.



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123§ FE400/8GUNTHER UECKER(GERMAN b. 1930)UNTITLEDSigned, inscribed and dated‘Happiness for Jane & Justin1990’, nail pressed paper

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

£1,000-1,500

Uecker, alongside Heinz Mackand Otto Piene, was afounding member of theimportant group ZERO in theearly 1960s. ZERO functionedas a catalyst in rejuvenatingthe German art scene, largelyin reaction to the dominant‘art informel’ movement of the40s and 50s which favouredspontaneous, gestural artisticimpulses. ZERO proposed thatthe process should besecondary to the concept andeffect.

In 1956 Uecker firstintroduced the use of nails tohis art. Later he wouldsuggest that his connection tonails as a means ofexpression originated fromhaving barricaded his familyhome against the approachingRussian front during WW2.When hammered intopatterns, at different depthsor affixed to movingconstructions, nails alsoproved effective in the pursuitof his fascination with the useof light to create the optical

illusion of movement. Ueckeris also interested in religiousand social philosophies. Hisnails create forms that aresuggestive of thehomogenized movements ofmankind both physically andmentally, and hint at theconcept of collective thought.

Uecker - whose associationswith Demarco date back tothe late 1960s - exhibited inEdinburgh on severaloccasions and was one of theparticipating Dusseldorfartists in Demarco’s Strategy:Get Arts show in 1970.

124§ FE400/99GUNTHER UECKER(GERMAN b. 1930)WIR SIND ZÜRÜCKInscribed and dated 1999,photograph


£100-200

125§ FE400/43LYS HANSEN(SCOTTISH b. 1940)LADY MADONNASigned and dated 1988,charcoal


£300-500



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126§ FE400/49BRIAN MCCANN R.C.A.(SCOTTISH 20TH CENTURY)UNTITLEDWatercolour and gouache


and another by the samehand (2)

£300-500

127§ FE400/103RICHARD DEMARCO C.B.E.,R.S.W. (SCOTTISH b. 1930)CONNEMARA LANDSCAPESigned, inscribed and dated1966, pencil and wash

25.5cm x 34cm (10in x 13.5in)

£200-300



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129§ FE400/4MARY NEWCOMB(BRITISH b. 1922)GIRLS JUMPING FORCHESTNUTSIndistictly signed, and dated1990, pencil

16.5cm x 18cm (6.5in x 7in)

£400-600

128§ FE400/13DOUGLAS SWAN(SCOTTISH 1930-2000)NEWSPAPER INTERIOR INTOAIRSigned, inscribed and dated1983, mixed media

51cm x 73.5cm (20in x 29in)

£300-500

130§ FE400/55IAN HAMILTON FINLAY(SCOTTISH 1925-2006) andRICHARD DEMARCO C.B.E.,R.S.W. (SCOTTISH b. 1930)GLOSSARY, LEMANSWEETHEARTSigned with initials andnumbered 146/300, lithograph

39.5cm x 43cm (15.5in x 17in)

£300-500



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131§ FE400/66IAN HAMILTON FINLAY(SCOTTISH 1925-2006) andRICHARD DEMARCO C.B.E.,R.S.W. (SCOTTISH b. 1930)THE LITTLE SEAMSTRESSSigned by Demarco,lithograph

43cm x 58.5cm (17in x 23in)

£400-600

“Christo” is the collectivename of the artist duo Christoand Jeanne-Claude Javacheff,whose series ofimmeasurably ambitiouspublic installations haveprovided some of the mostvisually striking and enduringimagery of the last fortyyears.

Christo Javacheff was born inBulgaria in 1935. In 1957 heescaped from behind the IronCurtain to study art in Vienna.Stateless and impoverished,Javacheff moved to Paris tomake a living as a portraitpainter where he met theMoroccan born philosophygraduate Jeanne-ClaudeDenat. Though engaged toanother man, Jeanne-Claudefell pregnant by Javacheffand, in the face of severedisapproval from her family,eloped with him despitehaving initially gone aheadwith her marriage andhoneymoon. The pair started



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132§ FE400/63CHRISTO JAVACHEFFCALLED ‘CHRISTO’(BULGARIAN b. 1935)WRAPPED HORSE PROJECT1963Signed, numbered 18/40,artist’s proof, collagedserigraph printed by MichaelDomberger, West Germany


£1,000-1,500

to collaborate togetherartistically and, having begunto build a reputation in Paris,settled in New York in 1964where they would remainuntil Jeanne-Claude’s deathin 2009 at the age of 74.

With a combination ofstaggering logisticalcapability, fearlessimagination and limitlessdrive, the couple becameknown for their high-profilepublic art installations whichinvolved “wrapping” famousmonuments including theReichstag in Berlin and thePont Neuf Bridge in Paris.Never accepting sponsorship,Christo would raise thenecessary funds – oftenamounting to millions ofdollars – solely by sellingpreparatory pastels,charcoals, collages andlithographs pertaining to theproject.

Interestingly, Christo insistthat there is no socio-political

monumentality bysimplification of form. Braverstill is the fact that theseworks are all transitory. Yearsin the planning and in situ foras little as a few days at atime, nothing but the plansand photographic recordsremain once the installationhas been dismantled, lendingthe works a legendary quality.

The Pont Neuf project took 9years of bureaucraticwrangling to come to fruitionin 1984. It is represented inthis sale in a series of imagestaken by their officialphotographer Wolfgang Volz.

concept behind their work;that the visual impact aloneis the objective. Thoughobviously playful, the sheerscale of the enterprise lendsan undeniable grandeur andbeauty to their work.Throughout the canon of arthistory the drapery hasplayed a significant and oftensymbolic role, as has the veilor shroud of religious ritual.The fabric reveals theessence of form and holdstransformative powers, in thiscase turning the iconic andthe familiar into theextraordinary: enhancing



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133§ FE400/12CHRISTO JAVACHEFF /‘CHRISTO’(BULGARIAN b. 1935)LE PONT NEUFSigned, lithograph


and two further lithographsfrom the same series (3)

£800-1,200

137§ FE400/74RICHARD DEMARCO C.B.E.,R.S.W. (SCOTTISH b. 1930)MEMORY OF AN ITALIANJOURNEYSignerd, inscribed and dated1981, watercolour


£100-200



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134§ FE400/19ALEX MCNEISH(SCOTTISH b. 1932)BREACHED CORNUCOPIASigned and dated 1961,inscribed on stretcher verso,oil on canvas

84cm x 112cm (33in x 44in)

£600-800

136§ FE400/107PETER HOWSON O.B.E.(SCOTTISH b. 1958)CHECKPOINT DRUNK WITHFRIGHTENED CHILDSigned and numbered 11/250,unframed, lithograph

37cm x 29cm (14.5in x 11.5in)

£100-200

135§ FE400/37CHRIS ORR R.A., M.B.E.(BRITISH b. 1943)66 LOST PETS AND THEIRPROBLEMSSigned, dated and numbered1980, 1/50, etching


£150-250

138§ FE400/27RICHARD DEMARCO C.B.E.,R.S.W. (SCOTTISH b. 1930)BORTHWICK’S CLOSESigned, inscribed and dated1983, pen and ink

37cm x 26.5cm (14.5in x 10.5in)

£200-300



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140§ FE400/80GEORGE WYLLIE A.R.S.A.(1921-2012)A DAY DOWN A GOLD MINESigned, dated 1982 andinscribed, painted brick

10cm x 21.5cm x 6.5cm

(4in x 8.5in x 2.5in)

£400-600

139§ FE400/81GEORGE WYLLIE A.R.S.A.(1921-2012)HAPPENING IN THE CITYStamped with monogram anddated 1979, bronze

72.5cm (28.5in) high

£500-700

Demarco devoted much of hiscareer to the promotion ofEastern European art;strengthening ties betweenthe UK and countries likePoland, Romania andYugoslavia. In particular,Demarco provided a platformfor the careers of atriumvirate of nowinternationally renownedartists; the German JosephBeuys, Polish Tadeusz Kantorand Romanian Paul Neagu.

Neagu, born in Bucharest in1938, found himself on thewrong side of the Iron Curtainto practise the abstractionistart to which he was impelled.Quietly, away from thesocialist realism proscribedby his native art schools,Neagu began to explore



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141§ FE400/41PAUL NEAGU(ROMANIAN 1938-2004)STAR HEADSSigned and dated 1982 lowerright, ink and gouache

66cm x 101.5cm (26in x 40in)

£2,000-3,000

throughout the rest of hiscareer. Its base materialsecho the folk furniture of hishomeland and the wedge-likeform is said to be rooted inreminiscences of the tools ofhis cobbler father’s trade. ToNeagu, the Hyphen form wasrepresentative of humanenergy and spirituality – anattempt to physicallyrepresent the metaphysicalharmony that the artist feltunderpinned mankind’sexistence. The eight pointStarheaded form is a furtherexploration of this ‘sacredgeometry’.

Neagu went on to teach inprestigious institutions suchas the Chelsea School of Artand the Slade. His work, theforefront of the avant-garde at

conceptual sculpturalstructures. When theembargo on internationalmovement was lifted for abrief eight month period in1969, Demarco took the firstflight from the UK toBucharest – its onlypassenger. He offered Neaguan Edinburgh show which wasreadily accepted. As a directresult of this opportunity,Neagu remained in the UK forthe rest of his life.

The works here arerepresentative of the twopredominant ciphers in hisoeuvre. The sculpturalassemblage ‘Hyphen’ is aversion of a repeatexperiment of Neagu’s, firstexplored in 1975 andconsistently re-imagined

the time, never led tocommercial success. A largescale Starhead form, forexample, was commissionedto be erected at CharingCross, London, but the projectwas halted by factions withinthe council. Nevertheless, hisconceptual approach tosculpture was to have alasting effect on a generationof students, including AnthonyGormley, Anish Kapoor andRachael Whiteread, each ofwhom cite his work as asignificant influence.

The Tate acquired Neagu’sarchive and showed aretrospective of his work theyear before the artist’s deathin 2004 at the age of 66.

142§ FE400/36PAUL NEAGU(ROMANIAN 1938-2004)9 CATALYTIC STATIONSSigned, exhibition poster for1988 exhibition, Edinburgh

89cm x 63.5cm (35in x 25in)

£800-1,200



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143§ FE400/57PAUL NEAGU(ROMANIAN 1938-2004)THREE DIMENSIONAL WALLPIECESigned and dated 1970 verso,mixed media

52cm x 52cm (20.5in x 20.5in)

£1,500-2,500

144§ FE400/50PAUL NEAGU(ROMANIAN 1938-2004)ROYAL HYPHENWood and metal construction

63.5cm x 63.5cm x 89cm

(25in x 25in x 35in)

£5,000-7,000



Post-War Art

76

145§ FE400/48BRIAN MCCANN R.CA.(SCOTTISH 20TH CENTURY)UNTITLEDSigned and dated 1984,collage and mixed media

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

£250-350

146§ FE400/60RICHARD DEMARCO C.B.E.,R.S.W. (SCOTTISH b. 1930)SARDINIAN STONE CIRCLESigned, inscribed and dated1977, pen and ink

12.5cm x 16.5cm (5in x 6.5in)

and two other sketches withinthe same mount

£200-300

147§ FE400/5JACK KNOX R.S.A., R.S.W.,R.G.I. (SCOTTISH b. 1936)A SCOTTISH BESTIARYLithograph, dated andnumbered 47/50


and two further works fromthe same series (3)

£300-500



Post-War Art

77

149§ FE400/7PAT DOUTHWAITE(SCOTTISH 1939-2004)SEAGULLSigned and dated 1987,inscribed verso, charcoal


£200-300

148§ FE400/22LYS HANSEN(SCOTTISH b. 1940)RESTRAINEDSigned, inscribed verso,acrylic on canvas

12.cm x 9cm (5in x 3.5in)

£200-300

150§ FE400/25STANLEY FRANKLIN(BRITISH 1930-2004)I THINK I’D LIKE THECHANNEL 4 DIRECTORTHERE - THE SUNSigned , inscribed and dated 4August 1983, pen and ink

28.5cm x 35.5cm (11.25in x 14in)

£200-300



Post-War Art

78

151§ FE400/28JEREMY WELLER(SCOTTISH 20TH CENTURY)GRASSMARKET PROJECTSTUDYOil on board

15cm x 9cm (6in x 3.5in)

and five others, a set of six (6)

£300-500

152 FE400/9JOHN DAVID MOONEY(AMERICAN 20TH CENTURY)PRIMEVAL GRACE IPhotograph, and three otherphotographs by the samehand (4)

£200-300

153§ FE400/118CHRISTIAN BRETT(20TH CENTURY BRITISH)RED TREESigned with initials and dated1969, oil on board

114cm x 81.5cm (45in x 32in)

Provenance:New Art Centre, London

£500-700



Post-War Art

79

154 FE400/33JANE MACALLISTER(BRITISH 20TH CENTURY)ST SEBASTIANSigned, inscribed and dated‘91 verso, mixed media


£200-300

155 FE400/119A collection of letters,etchings, exhibitioncatalogues etc largelypertaining to the activities ofthe Demarco GalleryGeorge Mackay Brown,104letters, between 1981-1995;Joseph Beuys/RichardDemarco 7000 Oaks Projectinterview recorded by JaneMacAllister, 27 March 1982 atBrooks Club London, mastercopy cassette recording;Catalogue: Richard DemarcoArchives, Through SevenDecades and CountlessLocations on the Road toMeikle Seggie, year 2000;Keir Smith, 9 folding ForthStudio brochures, Keir Smith,The Coniston Variations, 1983;Forth Studio catalogue:Catalogue Designs1990-1996; Catalogue:Demarco on the Road toMeikle Seggie; Catalogue:Demarco on the Road toMeikle Seggie, Philosophy;Catalogues: Peter LloydJones, Michael Tyzak, PatDouthwaite, ExperimentalPoetry, Ritzi Jacobi, PaulNeague, Ion Bitzan,Edinburgh Arts ‘75; IanHamilton Finlay. Book:Images from the ArcadianDream Garden, Christmas1992, Little Sparta,accompanied by small whiteembossed card - Swans inWinter, Snow on the Snow oftheir Wings, inscribed “HappyChristmas from Ian”; IanHamilton Finlay. Book: ABook of Wild Flowers,illustrated by Gary Hincks,



Post-War Art

80

Wild Hawthorn Press,accompanied by card: TheOctober coloured sails of oldThames barges, The waterfilled footprint of old Thamesbarges, The cold Christmasstables of old Thames barges,The Georgian pastorals of oldThames barges, signed“Happy Christmas, love fromIan”, Little Sparta, Christmas1994; Ian Hamilton Finlay.Book: Unsigned, designed byPia Maria Smig, Christmas1995, edition of 250 copies,Wild Hawrthorn Press,accompanied by card: Pines inthe Snow, TAKRL.., signed onback “Happy Christmas fromIan, as ever, XX”; TrevorYerbury. Mounted photos ofMacAllister-Dukes wedding inDemarco Gallery; Hugh

Collins, letter 1983, while inSpecial Unit, describing theprocess of making the Christand the Sinner statue;Seamus Heaney, postcard,1986: ‘Poland deservesIceland’; Tom Bakewell,drawing of Marques,unsigned, [25.5cm x 18.5cm];Jeanine Osborne, drawing,1991; Richard Demarco.‘Furling Sail by Moonlight’,number 33 of 60, 1991;Richard Demarco. ‘Full SailTowards Eynhallow fromStromness’, number 36 of 60,1991; Richard Demarco.‘Unfurling Sail towards theGairloch’, number 39 of 60,1991; Douglas Swan. ‘A weescratchy phone in the night,from Douglass with love toJane”, etching, unframed,

[21cm x 20cm]; ZbigniewMackariewicz. 1984. ‘ScottishInspirations’ (nominated), 134Portfolio, dedicated to JaneMacAllister by ZbiggyMacArewych, Wroclaw,Poland; Richard Demarco.‘Tall Ships Passing CrudenBay’, number 22 of 60, 1991;George Wyllie. Paper BoatIndentation certificate forJustin and Jane, signed byGeorge and Daphne,‘Shipmates’, 1990; PaulNeagu. Flying Horse, number68 of 75, signed “Neagu P.”,c/o GAG 1974, rolled in adecorative cardboard tubewith inscription by Paul;Timothy Emlyn Jones, ‘TheSecret Box’, 1995, inkdrawing.

£2,000-3,000

156§ FE450/1IAN HAMILTON FINLAY(SCOTTISH 1925-2006)LACONIC - HOMAGE TONEO-CLASSICISMSilk screenprint, ed. of 300

76cm x 58.5cm (30in x 23in)

and a companion ‘TheMedium is the Message’ (2)

£500-700

82

157§ FE441/4IAN HAMILTON FINLAY(SCOTTISH 1925-2006)POVERTY PITTED WITHLARKSScreenprint

14cm x 83cm (5.5in x 32.5in)

£300-400

Other Properties

158§ FE441/1IAN HAMILTON FINLAY(SCOTTISH 1925-2006)SEA POPPY IIScreenprint

33.5cm x 30cm (13.25in x 12in)

£300-400



Post-War Art

83

160§ FE441/3IAN HAMILTON FINLAY(SCOTTISH 1925-2006)SCOTTISH ZULUScreenprint


£200-300

159§ FE441/2IAN HAMILTON FINLAY(SCOTTISH 1925-2006)SEAMSScreenprint

42cm x 55cm (16.5in x 21.5in)

£300-400

161§ FE417/1PETER HOWSON(SCOTTISH b. 1958)JUDASSigned and dated 2008,signed, inscribed and datedverso, oil on canvas


£3,000-5,000



Post-War Art

84

162§ FF38/1PETER HOWSON O.B.E.(SCOTTISH b. 1958)NIGHT SHOUTSigned and dated ‘06, pastel


£600-800



Post-War Art

85

163§ FF38/4PETER HOWSON O.B.E.(SCOTTISH b. 1958)MOON GAZESigned, pastel


£1,000-1,500

164§ FE463/2DAVID MCCLURE R.S.A.,R.S.W. (SCOTTISH 1926-1998)MALLORCAN WINDOW 1Signed, inscribed verso,mixed media

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

£1,000-1,500



Post-War Art

86

165§ FE736/3NAEL HANNA(SCOTTISH/IRAQUI b. 1959)SUMMER POPPIES IISigned, oil on canvas


£600-800



Post-War Art

87

166§ FE290/6SIR ROBIN PHILIPSON R.A.,R.S.A., R.S.W., R.G.I., D.LITT.,L.L.D. (SCOTTISH 1916-1992)MARTYRDOM 1, 1967Mixed media on canvas


£3,000-5,000



Post-War Art

88

167TOBY PATERSON(SCOTTISH b. 1974)THE SEASON’S REVERSE 2Signed on label verso, acrylicon MDF panel

100.5cm x 184cm (40in x 72in)

Note:

This work dates from 2000.

£1,500-2,500

168No lot

169§ FB791/2CKEN HOWARD R.A.(BRITISH b. 1932)VENETIAN CAMPANILESigned, oil on board

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

£800-1,000



Post-War Art

89

170§ FB791/2AKEN HOWARD R.A.(BRITISH b. 1932)RIO SAN GIOVANNILATERANO, VENICESigned, oil on board


£600-800

171§ FB791/81MAURICE COCKRILL(BRITISH b. 1936)WHITE COLUMNSigned, inscribed and dated2009 verso, acrylic on canvas

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

£300-500



Post-War Art

90

172§ FB791/18MAURICE COCKRILL F.B.A.,R.A. (BRITISH b. 1936)COMPOSITIONSigned and dated 2010 verso,unframed, oil on canvas

101cm x 80cm (40in x 31.5cm)

£500-800

173 FE500/8HOCK-AUN TEH(20TH CENTURY MALAYSIAN)BLOOMINGSigned, acrylic on paper

56cm x 75.5cm (22in x 29.75in)

Exhibited:369 Gallery, Edinburgh 1987, ill.p.34

£400-600



Post-War Art

91

174§ FE500/25DEREK SOUTHALL(BRITISH b. 1930)TWO ISLANDSSigned and dated 1982 on thestretcher, oil on canvas

30.5cm x 43cm (12in x 17in)

£300-500

176§ FE500/6BRUCE MCLEAN(SCOTTISH b. 1944)PIPE AND LADDERSSigned, acrylic onphotographic paper


£400-600



Post-War Art

92

177§ FD669/10MAUREEN BINNIE(CONTEMPORARY SCOTTISH)LOOKING DOWNSigned and dated ‘82, chalk

85cm x 82cm (33.5in x 32.25in)

£300-500

175§ FE476/1JOHN BYRNE R.S.A.(SCOTTISH b. 1940)CITYSCAPESigned and dated ‘68,gouache

16cm x 17cm (6.25in x 6.75in)

£400-600

178§ FD740/2MICHAEL SCOTT(SCOTTISH 1946-2006)YOUTH AT SEAOil on board


£500-800



Post-War Art

93

179§ FE765/1JAMES SPENCE R.G.I., R.S.W.(SCOTTISH b. 1944)DISTANT SAILSSigned and dated 1981, oil oncanvas


Note:This painting was donated to theNUM strike fund

£300-500

180§GEORGE WYLLIE M.B.E.(SCOTTISH 1921-2012)HMS DISCREETSigned with initials, inscribedwith title and dated '84,watercolour and charcoal

80cm x 58cm (31.5in x 12.5in)

£400-600



Post-War Art

94

181§ FE201/8JOHN HOUSTONO.B.E.,R.S.A., R.S.W., R.G.I.,S.S.A. (SCOTTISH 1930-2008)COMPOSITIONSigned, pastel

106.5cm x 68.5cm (42in x 27in)

£400-600

182§ FE348/61WILLIAM BAILLIE P.R.S.A.,P.R.S.W. (SCOTTISH b. 1923)INDIAN INTERIORSigned, watercolour

61cm x 88cm (24in x 34.5in)

£300-500



Post-War Art

95

183§ FE463/1DAVID MCCLURE R.S.A.,R.S.W. (SCOTTISH 1926-1998)FISH FROM THE MEDSigned, signed, inscribed anddated 1991 verso, oil on board

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

£1,000-1,500

184§ FE499/39ALEXANDER GOUDIE(SCOTTISH 1933-2004)STILL LIFE WITH BANANASSigned, oil on canvas


£2,000-3,000



Post-War Art

96

185§ FE290/3ALEXANDER GOUDIE(SCOTTISH 1933-2004)SITTER’S CHAIRSigned, oil on canvas


£1,200-1,800

186§ FF40/4GORDON MITCHELL R.S.A.,R.S.W., R.G.I.(SCOTTISH b. 1952)GIGOLOSigned and dated ‘92, oil oncanvas


£2,000-3,000



Post-War Art

97

187§ FE450/3KEN CURRIE(SCOTTISH b. 1960)HANGING SKELETONEtching, signed, inscribedand annotated p/p


and another by the samehand ‘Shroud’ (2)

£300-500

188§ FE470/5EARL HAIG O.B.E., R.S.A.(SCOTTISH 1918-2009)SUMMER FLOWERSSigned, pen and ink andwatercolour

31cm x 23cm (12.25in x 9in)

£300-400

Stephen Conroy producesdetailed preparatory drawingsfor his larger oil paintingsusing chalk, gouache and oilon paper. In these chalkstudies he explores the dramacreated through light andshadow and graduallyestablishes the variouscomponents of hiscomposition.

The male head seen frombehind is an important motifin his work. Conroy'sdepiction of groups of figuresalmost entirely facing awayfrom the viewer, such as



Post-War Art

98

189§ FD771/2STEPHEN CONROY(SCOTTISH b. 1964)HEAD STUDY IIMonogrammed, signed andinscribed with title and dated1986 verso, mixed media onpaper

40cm x 30cm (19.75in x 11.75in)

£2,000-3,000

Degas' pastel studies ofwomen bathing and dryingthemselves. This group ofdrawings is evidence of theartist's extraordinarydraughtsmanship and abilityto accurately capture details,a quality that has led tovarious portrait commissions,including the portrait of SirJonathan Miller,commissioned by the NationalPortrait Gallery in London.

Three Bob a Week (AberdeenArt Gallery) is unusual in thehistory of art. Throughavoiding a direct view of theface, he adds to the enigmaticand mysterious atmosphereof his oeuvre. The male figurehas remained his primarysubject since the 1980s andamongst his typical depictionof generic 'suited men',Conroy often includes a self-portrait.

Conroy has depicted womencomparatively rarely. Thenude drawings offered hereshow his interest in Edgar

190§ FD771/4STEPHEN CONROY(SCOTTISH b. 1964)LIFE STUDY IVSigned, signed and inscribedwith title and dated 1987verso, pastel

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

£1,000-1,500



Post-War Art

99

191§ FD771/3STEPHEN CONROY(SCOTTISH b. 1964)LIFE STUDY IIISigned, signed and inscribedwith title and dated 1987verso, pastel

70cm x 45cm (27.5in x 17.75in)

£1,000-1,500

192§ FD771/5STEPHEN CONROY(SCOTTISH b. 1964)LIFE STUDY IISigned, signed and inscribedwith title and dated 1987verso, chalk

70cm x 45cm (19.75in x 27.5in)

£1,000-1,500



Post-War Art

100

193§ FD771/6STEPHEN CONROY(SCOTTISH b. 1964)LIFE STUDY ISigned, signed and inscribedwith title and dated 1987verso, chalk

70cm x 45cm (19.75in x 27.5in)

£1,000-1,500

194§ FD771/1STEPHEN CONROY(SCOTTISH b. 1964)HEAD STUDY IMonogrammed, signed andinscribed with title and dated1986 verso, oil on paper

40cm x 30cm (15.75in x 11.75in)

£3,000-5,000



Post-War Art

101

195§ FD740/3JOHN BELLANY C.B.E., R.A.,R.S.A., L.L.D.(SCOTTISH b. 1942)FISH WIFE WITH PURPLEHAIRSigned, pencil andwatercolour

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

£500-700



Post-War Art

102

196§ FE476/2LACHLAN GOUDIE(SCOTTISH b. 1976)THE LIGHTHOUSE AT STE.MAXIMESigned, gouache


£600-800

197§ FE348/86ELIZABETH BLACKADDERC.B.E., R.A., R.S.A., R.S.W.,R.G.I., D.LITT(SCOTTISH b. 1931)IRIS HERMODACTYLUSTUBEROSUSColoured etching, signed andnumbered 15/60, unframed

31.5cm x 24cm (12.5in x 9.5in)

and eight other prints fromthe John Napier 450thAnniversary Folio (WilliamBaillie print missing)

£500-800



Post-War Art

103

198§ FE500/5JOHN BELLANY C.B.E., R.A.,R.S.A., L.L.D.(SCOTTISH b. 1942)CONFRONTATIONSigned, watercolour


£500-800

199§ FE499/26ANDREW CRESSWELL(BRITISH b. 1957)HERMITAGE - THE JORDANSTAIRS IN THE WINTERPALACESigned, watercolour


and a companion ‘CastleHoward, The Great Hall’ (2)

£600-800



Post-War Art

104

200§ FE499/32JAMES MORRISON R.S.A.,R.S.W., L.L.D.(SCOTTISH b. 1932)MONTREATHMONT BEECH 1Signed and dated 7.xi.82, oilon board


£1,500-2,000



Post-War Art

105

201§ FE766/1MARK I’ANSON(SCOTTISH b. 1968)STUDY FOR JUST WALKING -GREENPencil and acrylic on paper


£200-300

202§ FE500/27GRAHAM SUTHERLAND O.M.,R.A. (BRITISH 1903-1980)INSECT FORMSigned and dated ‘79, ink andwash

29cm x 43cm (11.5in x 17in)

Exhibited:Marlborough Gallery

Literature:Apollinaire, Le Bestiare ou CortègeD’Orpheé 1979

£400-600

203§ FE690/1PETER HOWSON O.B.E.(SCOTTISH b. 1958)LOWLAND HERO 6Signed, crayon

29cm x 20cm (11.5in x 8in)

Exhibited:Glasgow Museum & Art Gallery ,McClellan Gallery, Peter Howson1993, no.44

£600-800



Post-War Art

106

204§ FF38/2PETER HOWSON O.B.E.(SCOTTISH b. 1958)HEADSTONESigned, pastel


£600-800

205§ FE500/3KAREL APPEL(DUTCH 1921-2006)ALL KINDSA WAYSSigned and dated ‘86, pen andink

29cm x 21cm (11.5in x 8.25in)

and another pen and ink bythe same hand ‘The forgottenangels’ (2)

Provenance:Arnolfini Gallery, Bristol 1987,Ill. pp. 56 and 54

£800-1,200



Post-War Art

107

206§ FF40/3BERYL COOK(BRITISH 1926-2008)RAB C. NESBITTSigned, inscribed and dated1992 verso, oil on board

58.5cm x 34.5cm (22.75in x 13.5in)

Note:Postcards from the artist to thesitter accompany this lot

£6,000-8,000



Post-War Art

108

207§ FF40/6ETHEL WALKER(SCOTTISH b. 1941)STILL LIFE WITHCANDLESTICKSSigned, oil on board


£1,000-1,500



Post-War Art

109

208§ FE499/16REGULA MARIA MÜLLER(20TH CENTURY DUTCH)WILDERNESSOil on canvas, unframed

122cm x 107cm (48in x 42in)

£500-800

209§ FE456/2PHILIP REEVES R.S.A.,P.R.S.W. (SCOTTISH b. 1931)CREVICESigned, mixed media

21cm x 14.5cm (8.25in x 5.75in)

£400-600

210§ FE499/7JOHN HOUSTON R.S.A.,R.S.W., S.S.A.(SCOTTISH 1930-2008)YELLOW LILIESSigned, inscribed and dated1985-86 verso, oil on canvas


£1,500-2,000



Post-War Art

110

211§ FE355/1LEON MORROCCO R.S.A.,R.G.I. (SCOTTISH b. 1942)STILL LIFE WITH FEZ ANDTASSELSigned and dated ‘99, oil oncanvas

86.5cm x 91cm (34in x 36in)

£5,000-7,000

END OF SALE



Post-War Art

111

112

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

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

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

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

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


IndexCataloguing Terms

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

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

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

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

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

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

Dimensions are given heightbefore width.

Anderson, G., 119Arpel, K., 205

Bacon, F., 33Baillie, W., 6, 182Becker, H., 89Bellany, J., 17, 18, 78, 79, 195,198

Beuys, J., 37, 111-118Binnie, M., 9, 177Blackadder, E., 14, 77, 197Brett, C., 153Breuer-Weil, D., 86Burns, J., 70Bushe, C., 20Byrne, J., 104, 175

Caulfield, P., 30Chapelet, R., 75Cockrill, 171, 172Cockrill, M., 102Colvin, C., 94Conroy, S., 189-194Cook, B., 206Creswell, A., 199Crozier, W., 109Cumming, J., 7Cunningham, J., 103Currie, K., 187

Demarco, R., 121, 122, 127,137, 138, 146

Redfern J., 10Reeves, P., 209Richards, C., 90Riley, B., 41-49Romero, M., 50

Scott, M., 178Scott, W., 61Scottish School, 105Scouller, G., 19Scully, S., 34Southall, D., 174Spence, J., 179Sutherland, G., 202Sutton, P., 38Swann, d., 128

Teh, H-A., 173Thomson, D., D., 82, 83Toner, D., 11

Uecker, G., 123, 124

Walker, E., 207Weller, J., 151White, P., 76Wishaw, A., 54Wyllie, G., 13, 36, 107, 139,140, 180

Yule, A., 120

Zyw, A., 28

Irwin, G., 51Javacheff, C. (called 'Christo'),132, 133

Knox, J., 147

l'Anson, M., 201

Macallister, J., 154McArthur, C., 80, 81McCann, B., 126, 145McCarthy, C., 91McClure, D., 164, 183McLaurin, R., 39McLean, B., 31, 176McNeish, A., 134Mitchell, G., 186Mooney, J.D., 152Morris, M., 32Morrison, J., 29, 200Morrocco, A., 21, 87Morrocco, L., 211Müller, R.M., 208

Neagu, P., 141-144Newcomb, M., 129

Orr, C., 135

Paolozzi, Sir E., 16Park, A., 110Paterson, T., 167Philipson, Sir R., 3, 8, 99, 166

Derges, S., 55Douthwaite, P., 15, 84, 85, 149

Fairnington, M., 52, 53Ferguson, D., 97Finlay, I.H., 130, 131, 156-160Flanagan, B., 108Fleming, I., 5Franklin, S., 150Fraser, A., 35Frost, Sir T., 71-74, 93

Gear, W., 96Gillespie, J., 88Goudie, A., 12, 184, 185Goudie, L., 196Greaves, E., 64, 65Gunarsa, N., 92

Haig, E., 4, 188Hambling, M., 106Hanna, N., 98, 101, 165Hansen, L., 125, 148Hely, N., 62, 63Hepworth, B., 66, 67Heron, P., 56-60Houston, J., 100, 181, 210Howard, K., 1, 2, 169, 170Howson, P., 27, 28, 95, 136,161, 162, 163, 203, 204

Irvin, A., 68, 69

Fine PaintingsThursday, 30th May, 201333 Broughton Place, Edinburgh EH1 3RR

www.lyonandturnbull .com

SAMUEL JOHN PEPLOE R.S.A.(SCOTTISH 1871-1935)

IONASigned, oil on panel


£30,000-50,000

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

Emily JohnstonTel: +44 (0)20 7930 [email protected]

Charlotte RiordanTel: +44 (0)131 557 [email protected]

Fine PaintingsThursday, 30th May, 201333 Broughton Place, Edinburgh EH1 3RR


GEORGE LESLIE HUNTER(SCOTTISH 1877-1931)

STILL LIFE, FRUITSigned, oil on convas

66cm x 775cm (25.25in x 30.25in)

Provenance:J. Gibson Jarvie, Esq.

Exhibited:Exhibition of Scottish Art, Royal

Academy of Arts, London, 1939, no. 565

£60,000-80,000

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

Emily JohnstonTel: +44 (0)20 7930 [email protected]

Charlotte RiordanTel: +44 (0)131 557 [email protected]

Fine Asian Works of ArtWednesday, 12th June, 201333 Broughton Place, Edinburgh EH1 3RR


Enquiries

Lee YoungTel: +44 (0)131 557 [email protected]

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

Modern & Contemporary ArtAuction 05/05/13

www.freemansauction.com

ROY LICHTENSTEIN(american 1923-1997)"BRUSH STROKE V"Signed verso and numbered 2 (from the edition of 10)Wall relief comprised of cherry wood, epoxy paint,acrylic lacquer and enamelExecuted in 198660 x 31 x 13 1/2 in. (152.4 x 78.8 x 34.3cm)$80,000-100,000(detail)

Please call +1 267.414.1256 to order a catalogueor subscription.

Exhibition opens Thursday, May 2 at 10am

Anne Henry+1 [email protected]

Aimee Pflieger+1 [email protected]

American Art & PennsylvaniaImpressionists Auction 06/09/13

www.freemansauction.com

GEORGEWILLIAM SOTTER(american 1879-1953)COVERED BRIDGE, WINTERSigned 'G.W. Sotter.' bottom right, oil on canvas22 x 26 in. (55.9 x 66cm)$50,000-80,000(detail)

Please call +1 267.414.1256 to order a catalogueor subscription.

Exhibition opensWednesday, June 5 at 10am

Alasdair Nichol+1 [email protected]

DavidWeiss+1 [email protected]

118

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

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

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

2. BIDDING PROCEDURES AND THEBUYER

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

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

(c) Bidders shall be deemed to act asprincipals.

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

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

3. INCREMENTS

Bidding increments shall be at theauctioneer’s sole discretion.

4. THE PURCHASE PRICE

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

25% up to £25,000 / 20% thereafter.

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

5. VALUE ADDED TAX

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

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

6. PAYMENT

(1) Immediately a lot is sold you will:

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

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

7. TITLE AND COLLECTION OFPURCHASES

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

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

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

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

8. REMEDIES FOR NON-PAYMENT ORFAILURE TO COLLECT PURCHASES

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

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

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

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

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

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

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

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

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

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

9. THIRD PARTY LIABILITY

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

10. COMMISSION BIDS

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

11. WARRANTY OF TITLE ANDAVAILABILITY

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

12. AGENCY

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

13. TERMS OF SALE

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

14. STANDARD VENDOR FEES ANDCHARGES (Subject to VAT)

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

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

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

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

15. DESCRIPTIONS AND CONDITION

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

held and accept liability for opinions givennegligently or fraudulently. Subject to theforegoing neither we the auctioneer or ouremployees or agents or the seller acceptliability for the correctness of suchopinions and all conditions andwarranties, whether relating todescription, condition or quality of lots,express, implied or statutory, are herebyexcluded. This Condition is subject to thenext following Condition concerningdeliberate forgeries and applies save asprovided for in paragraph 6 “information tobuyers”.

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

16. FORGERIES

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

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

GENERAL

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

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

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

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

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

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

22. Scottish law applies to theinterpretation of these Conditions.

119

Sale Title

Sale Date Sale No.

Title Initials Client No.

Surname

Address

Postcode

Telephone Fax

E-mail

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.

£ Sterling limitLot.No Description Ex. Premium & VAT

Board of Directors

ChairmanSir Angus Grossart

Vice ChairmanPaul Roberts

Managing DirectorNick Curnow

DirectorsCampbell ArmourRachel DoerrTrevor KyleJohn MackieGavin Strang

Associate DirectorsLee YoungMhairi McFadden

Specialist Departments

Pictures, Watercolours andPrintsNick CurnowCharlotte RiordanEmily Johnston (London)

Furniture, Clocks andWorks of ArtDouglas GirtonLee YoungLydia Stoker

Asian Works of ArtLee YoungLydia Stoke

Rugs and CarpetsGavin Strang

Jewellery, Silver,Coins and MedalsTrevor KyleColin Fraser

Decorative Arts and DesignJohn Mackie

European and Asian CeramicsDouglas GirtonCampbell Armour

Rare Books, Maps, Manuscriptsand PhotographsSimon VickersCathy Marsden

Arms and ArmourJohn Batty (consultant)

InteriorsTheo BurrellCharlotte Riordan

Valuation Department

Telephone: 0845 882 2794

UK DirectorRachel Doerr

Business Development

Lady MiddletonJohn SibbaldJohn ThomsonTessa ThomsonLindsey MichieNicholas CampbellIan Peter MacDonald

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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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

Documents

Scottish Contemporary & Post War Art | 17th April 2013 11am