Scottish Contemporary & Post War Art | 20/08/2013

Scottish Contemporaryand Post-War Art

Wednesday, 20th August, 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

Tuesday, 20th August, 2013at 11am

Sale Number LT390

ViewingThursday, 15th August 10am - 5pmFriday, 16th August 10am - 5pmSaturday 17th August 12 noon - 4pmSunday, 18th August 12 noon - 4pmMonday, 19th August 10am - 5pmMorning of sale strictly by appointment only

SpecialistsNick [email protected]

Emily [email protected]

Charlotte [email protected]

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

Important informationfor buyers

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07.13

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

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will not apply to works where thehammer 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.

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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. It

1§ FG364/1JAMES CUMMING R.S.A.,R.S.W. (1922-1991)ATLANTIC FISHERFOLKSigned, gouache

38cm x 33cm (15in x 13in)

£300-500


Scottish Contemporary and

Post-War Art

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2§ FG364/3JACK FIRTH R.S.W.(SCOTTISH 1917-2010)PLAQUE FOR MERLINSigned, gouache


£300-500

3§ FG244/5GEORGE DEVLIN R.S.W.,R.G.I. (SCOTTISH b. 1937)NEAR GIANNI’S, ZATTERE,VENICESigned, pastel

21.5cm x 28cm (8.5in x 11in)

£300-500



Post-War Art

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5§ FG240/1HUGH MCINTYRE D.A.(SCOTTISH b. 1943)ON THE SOLWAYSigned and dated ‘91, oil oncanvas


£500-700

4§ FF173/1LESLIE MAIN(SCOTTISH b. 1959)PALM TREESSigned and dated 1986,mixed media on board

19cm x 29cm (7.5in x 11.5in)

£250-400

6§ FG414/6JOAN GILLESPIE(SCOTTISH 20TH CENTURYTHE MOUNDSigned, oil on board

31cm x 39cm (12in x 15.5in)

£400-600)



Post-War Art

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7§ FG414/5JOAN GILLESPIE(SCOTTISH 20TH CENTURY)SUNSET, LEITH DOCKSSigned, oil on canvas


£600-800

8§ FG252/1JOHN LOWRIE MORRISON(SCOTTISH CONTEMPORARY)WET AND WINDY DAY,ARCHIE’S HOUSESigned and dated ‘81,inscribed with title verso, oilon canvas

81cm x 101.5cm (32in x 40in)

£400-600



Post-War Art

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9§ FF194/1PERPETUA POPE(SCOTTISH 1916-2013)ROSA “WHITE WINGS” ATKIFSGATE COURT GARDENS,GLOUCESTERSHIRESigned, inscribed label verso,oil on canvas


Provenance:Purchased from the artist in 1978

£500-700

10§ FG325/7JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)STILL LIFE WITH BLUE ANDWHITE VASESigned, oil on canvas


£1,000-1,500



Post-War Art

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11§ FG354/1RICHARD JACQUES(20TH CENTURYSCOTTISH CONTEMPORARY)NEW TOWN INTERIOR, NIGHTSigned, mixed media on paperlaid on board

122cm x 93cm (48in x 38.5in)

£500-700

12§ FG93/6JOHN LOWRIE MORRISONO.B.E. (SCOTTISH b. 1948)MOON AT LOW TIDESigned and dated 2002,signed, inscribed and datedverso, oil on canvas


£800-1,200



Post-War Art

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13§ FG356/1JOHN LOWRIE MORRISONO.B.E. (SCOTTISH b. 1948)HAYSTACK BY THE SHORE,ISLE OF MULLSigned and dated ‘99, signed,inscribed and dated verso, oilon canvas


£1,500-2,500

14§ FG93/7JOHN LOWRIE MORRISONO.B.E. (SCOTTISH b. 1948)WEEKEND TUB, ISLE OFBENBECULASigned and dated 2003,signed, inscribed and datedverso, oil on canvas


£1,500-2,500



Post-War Art

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15§ FE348/68ROBERT HENDERSON BLYTHR.S.A., R.S.W.(SCOTTISH 1919-1970)TREES AND FARM BUILDINGPen and wash

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

£300-500



Post-War Art

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17§ FE348/63WILLIAM LITTLEJOHN R.S.A.,R.S.W. (SCOTTISH b. 1929)ROPE AND DRAGONFLYSigned with initials and dated‘95, mixed media onhandmade paper

20cm x 27cm (8in x 10.5in)

£250-350

16§ FE348/54PHILIP REEVES R.S.A.,P.R.S.W. (SCOTTISH b. 1931)SHORE AND WAVESSigned and inscribed withtitle, artist’s proof

47cm x 73cm (18.5in x 28.75in)

£200-300

18§ FG48/2GEORGES ROUAULT(FRENCH 1871-1958)FILLE NUEEtching and aquatint

27cm x 17cm (10.5in x 6.75in)

£600-800



Post-War Art

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19§ FG48/1GEORGES ROUAULT(FRENCH 1871-1958)DEUX MATRONESEtching and aquatint

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

£600-800

20§ FG359/2GEORGE WYLLIE M.B.E.,R.S.A., R.G.I.(SCOTTISH 1921-2012)ALCHEMYSigned with initials, inscribedand dated ‘82, mixed mediaon paper

40cm x 28cm (15.75in x 11in)

£300-500



Post-War Art

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21§ FG48/3GEORGES ROUAULT(FRENCH 1871-1958)CRISTAL DE ROCHEEtching and aquatint

31cm x 20cm (12.25in x 8in)

£600-800

22§ FG377/2BET LOW R.S.A., R.S.W.,R.G.I. (SCOTTISH 1924-2007)BEACH, ORKNEYSigned, watercolour andgouache


£500-700



Post-War Art

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24§ FG377/1JOHN O'CONNOR R.W.S.(BRITISH 1914-2002)THE ROWAN TREEInscribed verso, oil on canvas


£500-700

23§ FB791/38JOHN BELLANY H.R.S.A.,R.A., C.B.E.(SCOTTISH b. 1942)MONOCHROME FIGURES IVSigned, watercolour

58cm x 82cm (22.75in x 35.25in)

£400-600

25§ FF151/24JEANETTE LASSEN(SCOTTISH d. 2008)TABLESCAPESigned, signed, inscribed anddated 1988/9 verso, oil oncanvas

93cm x 61cm (36.5in x 24in)

£400-600



Post-War Art

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26§ FF151/23GRAHAM MCKEAN(SCOTTISH b. 1962)LEANING TOWARDS LIBERTYSigned, oil on canvas


£300-500

27§ FB791/22JOHN BELLANY H.R.S.A.,R.A., C.B.E.(SCOTTISH b. 1942)STILL LIFE WITH YUCCAPLANTSigned, oil on canvas,unframed

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

£2,000-3,000



Post-War Art

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28§ FE363/3AEVE ARNOLD(AMERICAN 1913-2012)MARILYN MONROESigned label verso andnumbered 70/99, silver gelatinprint


£1,000-1,500



Post-War Art

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Despite a career thatspanned a myriad of subjects- asylums in Haiti, the KuKlux Klan, Malcolm X’s BlackPower rallies and IndiraGhandi’s political tours toname but a few - it isgenerally for the candidportraits of the rich andfamous, particularly MarilynMonroe, that Eve Arnold isbest known.

Arnold was born inPhiladelphia in 1912 toRussian-Jewish immigrantparents, later honing herphotographic practise in1940s Manhattan underHarper’s Bazaar art directorAlexey Brodovitch. 1951saw Arnold become one ofthe first female members

of Magnum PhotosPhotographic Agency, whosefounders included HenriCartier-Bresson and RobertCapa.

As her back-catalogueattests, something in Arnold’smanner enabled her accessto a huge variety of peoplefrom different walks of lifeand clearly earned her theimplicit trust of her sitters.The result of this subtlety wasa body of work which seemedto capture the sitter with theirguard down, at ease and un-judged. This is perhaps mostevident in her images ofMarilyn Monroe, accountingfor their success above allother areas of her work.

The two met in 1951 as young

women, both starting out intheir careers. As Arnoldcommented, “She was astarlet, I a neophytephotographer. Neither of usknew very much about herchosen métier, but thisformed a bond between us.”The photographicrelationship would endure foranother decade, with Arnoldfamously shooting Monroeduring her last completedfilm The Misfits in 1961, justa year before her death. Theirobvious rapport allowedArnold to create anatmosphere of security andintimacy around their shoots,in turn enabling Monroe toshow previously unseenaspects of her character.Arnold was fascinated by her

mercurial ability in front ofthe camera, “each time Iphotographed her she wasdifferent – not only a variationfrom session to session, but avariation from frame toframe. She would lookdifferent in mood andattitude”.

The works shown here forsale are from Arnold’s 2005show at the Halcyon Galleryin London which featuredlimited editions of neverbefore seen film of Monroe.The largest work captures atypically effervescent Marilynwith Misfits director JohnHuston at a gaming table inReno in 1961.

EVE ARNOLD

29 FE363/1EVE ARNOLD(AMERICAN 1913-2012)MARILYN MONROE ANDJOHN HUSTON - LUCKYTOSS47/49, signed label verso,silver gelatin print

155cm x 104cm (61in x 41in)

Exhibited:The Halcyon Gallery, London, 1995

£5,000-8,000



Post-War Art

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30 FE363/3EVE ARNOLD(AMERICAN 1913-2012)MARILYN MONROE UPONARRIVAL AT THE CHAMPAIGNAIRPORT, ILLINOIS, 1955Signed label verso andnumbered 70/99, silver gelatinprint


£1,000-1,500



Post-War Art

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31 FG339/2MILTON H. GREENE(AMERICAN 1922-1985)PORTRAIT OF MARILYNMONROESigned and inscribed verso ‘ToPeter, Merry Christmas and ahappy happy New Year, LoveJohanna and Milton. Lookforward to seeing you soon,’black and white photograph

35.5cm x 28cm (14in x 11in)

£500-700

32 FG64/1ANDRE KERTESZ(AMERICAN/HUNGARIAN1894-1985)THE SATIRIC DANCERSigned, inscribed ‘Paris’ anddated 1926 in pencil verso,gelatin silver print

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

£3,000-5,000



Post-War Art

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33 FG64/3WILLIAM KLEIN(AMERICAN b. 1928)STATEN ISLAND FERRY, 1955Signed and dated 1977 inpencil verso, gelatin silverprint

30.5cm x 40cm (12in x 15.75in)

£1,500-2,500



Post-War Art

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Post-War Art

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34 FG64/6WILLIAM KLEIN(AMERICAN b. 1928)HORN AND HARDART, C.1955Signed and dated 1977 inpencil verso,

30cm x 41cm (11.75in x 16in)

£1,500-2,500



Post-War Art

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36§ FG341/7CALUM COLVIN O.B.E., R.S.A.(SCOTTISH b. 1961)TURKISH BATHCibachrome print 1988,edition of 4


£800-1,000

35§ FG64/2TONY RAY-JONES(BRITISH 1941-1972)BALLROOM, MOREStamped, inscribed VII andnumbered 4/125 in pencil tomount, silver print

20.5cm x 13cm (8in x 5.25in)

£700-900

37§ FE348/50WILLIAM BAILLIE P.R.S.A.,P.R.S.W.(SCOTTISH 1923-2011)PINK PARALLELSSigned, mixed media on paper

95cm x 66cm (37.5in x 26in)

£300-500



Post-War Art

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38§ FG202/3ETHEL WALKER(SCOTTISH b. 1941)PORT A’ MHUILINN,EASDALESigned, oil on board


£2,000-3,000

39§ FG212/3PETER MCLAREN(SCOTTISH CONTEMPORARY)CAR COUPLEOil on board

123cm x 108cm (48.5in x 42.5in)

£4,000-6,000



Post-War Art

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40§ FG212/2PETER MCLAREN(SCOTTISH b. 1964)POPPIES AND TULIPS IISigned, inscribed and dated2008, oil on board

81cm x 67cm (32in x 26.5in)

£3,000-5,000



Post-War Art

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41§ FE50/199PAT DOUTHWAITE(SCOTTISH 1939-2002)STORK, ROMANIASigned, inscribed and dated‘89, charcoal

75cm x 54.5cm (29.5in x 21.5in)

£300-500



Post-War Art

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43§ FE50/198PAT DOUTHWAITE(SCOTTISH 1939-2004)BIRD ATTACKSigned, inscribed and dated89, mixed media


£400-600

42§ FE50/197PAT DOUTHWAITE(SCOTTISH 1939-2004)LIZInscribed, coloured chalk

84cm x 59.5cm (33in x 23.5in)

£300-500



Post-War Art

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44§ FF151/15ERIC SCHILSKY R.A., R.S.A.(BRITISH 1898-1974)PORTRAIT BUST OF A NAKEDWOMAN WITH CROSSEDHANDSBronze

56cm (26in) high

£1,000-2,000

45§ FG362/6DONALD MANSON(SCOTTISH CONTEMPORARY)STILL LIFE WITH MIDNIGHTSNOWSigned, gouache

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

£200-300



Post-War Art

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47§ FG362/5DONALD MANSON(SCOTTISH CONTEMPORARY)LILY BY THE RIVERSigned, gouache

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

£200-300

46§ FG223/1PERPETUA POPE(SCOTTISH 1916-2013)JIM’S BUNCHSigned, oil on canvas


£400-600

48§ FG414/4FRANCIS FARMAR(BRITISH 20TH CENTURY)MOUSEHOLE 2Signed and dated 2001,signed, inscribed and datedverso, oil on canvas


£500-700



Post-War Art

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49§ FF467/1JOCK MACINNES R.G.I.(SCOTTISH b. 1943)QUAYSIDESigned with a monogram, oilon gessoboard


£800-1,200

50§ FG93/4LESLIE MAIN(SCOTTISH 20TH CENTURY)A CORNER OF EDISON’SBALCONY, FLORIDASigned and dated 1988, mixedmedia


Provenance:Portland Gallery, London , May 1989

£400-600



Post-War Art

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52§ FG361/2DANNY FERGUSON(SCOTTISH 1925-2004)FUTURE FOSSILSigned, oil on board

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

£600-800

51§ FG93/2LESLIE MAIN(SCOTTISH 20TH CENTURY)ISLE OF MYKONOS AT NIGHTSigned, oil on board

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

Provenance:Portland Gallery, London, May 1989

£250-350

53§ FF474/2DOUGLAS THOMSON(SCOTTISH b. 1955)SHESigned, oil on canvas laiddown


£300-500



Post-War Art

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54§ FF474/1DOUGLAS THOMSON(SCOTTISH b. 1955)THE NOVELISTSigned, inscribed verso, oil oncanvas

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

£500-700

55§ FG14/17BARRY CASTLE(IRISH 1835-2006)BANG, BANG YOU’RE DEADSigned with initials and dated‘80, oil on board

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

Provenance:Lorbottle Hall, Whittingham,Northumberland

£1,500-2,000



Post-War Art

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56§ FG14/63BARRY CASTLE(IRISH 1835-2006)THREE WOMENREMEMBERING AN EXTINCTGENDERSigned with initials and dated‘86, oil on board



£1,500-2,000

William Drummond Bone,nephew of the celebrated warartist and etcher MuirheadBone, is best known for hislong association with theGlasgow School of Art. Heattended as a studentbetween the years 1927-32,his talents and industriousattitude receiving recognitionin the form of a travellingscholarship to Italy and hisappointment to the position oflecturer in 1934. Retiring in1972, Bone’s lengthy career atthe school was extremelyhighly regarded.

The works in this saleoriginated from the sale of



Post-War Art

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57§ FG437/13WILLIAM DRUMMOND BONER.S.W., A.R.S.A.(SCOTTISH 1907-1979)THE CHEESE MARKET ATALKMAARSigned, oil on board

87cm x 113cm (34.25in x 44.5in)

£3,000-5,000

Bone’s studio by theEdinburgh branch of PhillipsAuctioneers in 1992 after theartist’s death. Several formerpupils contributed to thecatalogue’s foreword anddedication, evidencing therespect maintained amongthose he taught. John Byrneremarked upon Bone’shumility regarding his owntalent, and distilled theessence of his teachingprinciples by recollection ofhis wise words: “If you candraw, you can do anything”.

Dugald Cameron, a formerpupil of Bone’s and Directorof the Glasgow School of Art

slightly uncanny and gentlysymbolist; a surreal idyllmade up of stand-alonevignettes.

Bone has an unjustifiablyquiet reputation and his workseldom appears on themarket. For those interestedin the history of Scotland’s artinstitutions, however, his iscertainly a name to know.

at the time of his death,echoed similar sentimentsabout the diligent work ethicBone was able to quietlynurture in his pupils.

Though more often than notside-lined by the impact hemade as a teacher, Bone’sartwork is distinctive and veryof its period. He is bestknown for his wartimewatercolours and large scale,mural-esque works like ‘InArcadia’, which owe much tohis travels to Germany andBelgium. Here, Classicalovertones mingle withHieronymus Bosch-likeelements, the resulting scene

WILLIAM DRUMMOND BONE



Post-War Art

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58§ FG437/14WILLIAM DRUMMOND BONER.S.W., A.R.S.A(SCOTTISH 1907-1979)IN ARCADIASigned, oil on board

101cm x 127cm (40in x 48in)

£2,000-3,000

59§ FF151/56JACK MORROCCO(SCOTTISH b. 1953)PIAZZA SAN MARCO, VENICESigned, acrylic on board


and a companion ‘Venetiancanal scene’ (2)

£500-800



Post-War Art

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59A§ FF151/40JACK MORROCCO(SCOTTISH b. 1953)THE MODEL’S BREAKSigned, oil on canvas


£300-500

60§ FG364/2GEOFFREY ROPER(SCOTTISH b. 1942)MURDER IN THE CATHEDRALOil on canvas


£300-500



Post-War Art

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62§ FG437/18GEOFFREY ROPER(SCOTTISH b. 1942)FURNACEOil on board


£200-300

61§ FG437/15DAVID MICHIE O.B.E., R.S.A.,R.G.I. (SCOTTISH b. 1928)FISH WOMANSigned and dated ‘64, oil onboard


£500-800

63§ FG414/2JAMES FULLARTON(SCOTTISH b. 1946)STILL LIFESigned, oil on canvas


£2,000-3,000



Post-War Art

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64§ FB791/8JOHN BELLANY H.R.S.A.,R.A., C.B.E.(SCOTTISH b. 1942)MINERVASigned, watercolour

26cm x 35cm (10.25in x 13.75in)

£500-700



Post-War Art

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65§ FG414/3NORMAN SAYLE R.I.(BRITISH 20TH CENTURY)CASTLETOWN HARBOUR,ISLE OF MANSigned and dated 1998,watercolour

56cm x 74cm (22in x 29.25in)

£300-500

66§ FB791/10JOHN BELLANY H.R.S.A.,R.A., C.B.E.(SCOTTISH b. 1942)WOMAN WITH PURPLE HAIRSigned, watercolour

35.5cm x 26cm (14in x 10.25in)

£500-700



Post-War Art

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67§ FG14/60JOHN BELLANY C.B.E., R.A.,R.S.A., L.L.D.(SCOTTISH b. 1942)WOMAN WITH CATSigned, watercolour,unframed

75cm x 56.5cm (29.5in x 23.5in)

Provenance:Open Eye Gallery, EdinburghLorbottle Hall, Whittingham,Northumberland

£500-800

68§ FG14/55SEAN SCULLY(IRISH/AMERICAN b. 1945)DIAGONAL SERIES NO.3Signed, inscribed and dated‘73, mixed media andmasking tape

£1,000-2,000



Post-War Art

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69§ FF173/4DONALD MORRISON BUYERSR.S.W. (SCOTTISH 1930-2003)LANDSCAPE, PINK ANDGREYSigned and dated ‘65, oil onboard

61cm x 122cm (24in x 40in)

£300-500

70§ FG14/62AEARL HAIG O.B.E., R.S.A.(SCOTTISH 1918-2009)BLACKFACE SHEEPSigned, oil on canvas

86.5cm x 112cm (34in x 44in)


£1,000-1,500



Post-War Art

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71§ FG244/1DAVID CARR(BRITISH 1915-1965)COMPOSITIONOil on canvas


£600-800



Post-War Art

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72§ FG244/2DAVID CARR(BRITISH 1915-1965)COMPOSITIONOil on mixed media

58.5cm x 79cm (23in x 31in)

£500-700

Born in Newcastle in 1936,Gerald Laing was schooled atSandringham and seemeddestined for a military life. Itwas not until the 1950s thathe began, with total focus andvigour, to devote himself tohis previously suppressedartistic abilities. He enrolledat Central Saint Martin’sCollege of Art, developing thegraphic Pop Art style forwhich he would be famedthroughout the 1960s. Upongraduating in 1964, Laing



Post-War Art

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73§ FG437/3GERALD LAING (BRITISH/AMERICAN 1936-2011)GALINA VBronze, signed with amonogram, signed, inscribedand dated 1976, 1/10

53cm (21in) high

£3,000-5,000

moved to New York where heenjoyed a decade as acelebrated and widelyexhibited member of theManhattan art scene.

His move towards sculpturecommenced in 1965,continuing apace upon hispurchase and renovation ofKinkell Castle in Ross andCromarty, Scotland. Beforelong he had mastered the artof bronze casting anddeveloped his own foundry onthe estate. Initially sculpting

in an abstract manner, Lainggradually turned against thefashion of the time and movedtowards figuration, feeling theabstract aesthetic was ill-suited to illustrate humanityin all its complexities. TheGalina series of the early tomid 1970s is representative ofthis transitional period.

In these works, Laing seeksto rationalise his compulsiontowards figuration by breakingdown and exploring many ofthe key sculptural styles ofthe twentieth century. In theGalinas one can detect thefuturistic, the abstracted, themechanistic. The worksvariously echo Boccioni,Brancusi, pre-WW1 Epstein,and even Picasso. They arealso redolent of Laing’s ownfar-reaching and all-encompassing interests. Ashis friend and collaborator IanCarr described it, “(Laing)

involves a whole spectrum ofexperience in his vision: fromancient history to modernmachinery; from Old Mastersto cars and motorcycles – allare icons in his eyes,emblematic of the mark ofmankind.”

Laing took on many highprofile public art commissionsincluding several inEdinburgh: the Axis Mundi forStandard Life (1991), theFrieze of the Wise and FoolishVirgins (1979 George Street),and Sherlock Holmes – AMemorial to Sir Arthur ConanDoyle (1991, Picardy Place). In2004 he established theGerald Laing Art Foundationto promote the appreciation ofpublic art practice. His workis featured in manycollections worldwide, notablythe universities of Cornell,Harvard and New York, TheNational Gallery in London,The Scottish National Galleryof Modern Art, The Tate andthe Victoria and AlbertMuseum, London.

GERALD LAING

74§ FF173/5CHRIS BUSHE R.S.W.(SCOTTISH b. 1958)FIRE, LAND, BLACK SEAOil on board

19cm x 75cm (7.5in x 29.5in)

£300-500



Post-War Art

44

76§ FF151/65JAMES MORRISON R.S.A.,R.S.W., L.L.D.(SCOTTISH b. 1932)MOINE HORIZONSigned and dated 25.viii.98, oilon board

30.5cm x 96.5cm (12in x 38in)

£1,000-1,500

75§ FF173/2CHRISTOPHER WOOD(SCOTTISH b. 1962)EARLY SNOWSigned, oil on canvas


£300-500

77§ FF151/18DENIS PEPLOE R.S.A.(SCOTTISH 1914-1993)STILL LIFE WITH BUDDHASigned, oil on canvas


£1,000-1,500



Post-War Art

45

78§ FE489/2DOUGLAS THOMSON(BRITISH b. 1955)FIRE WATERSigned, signed and inscribedwith title verso, oil on canvas

67cm x 67cm (26.5in x 26.5in)

£500-700

79§ FF473/1SHONA BARR(SCOTTISH b. 1965)GLEN LIVET LANDSCAPESigned, oil on canvas

122cm x 152cm (48in x 60)

£800-1,200



Post-War Art

46

80§ FF473/2SHONA BARR(SCOTTISH b. 1965)MOORLAND MORNINGSigned, oil on canvas


£600-800

81§ FG371/1ALBERTO MORROCCO O.B.E.,R.S.A., R.S.W.(SCOTTISH 1917-1998)LA TREBBIA, EVENINGSigned, oil on canvas


Provenance:The Estate of the artist DavidMcClure

£5,000-7,000



Post-War Art

47

82§ FG244/6PAT DOUTHWAITE(SCOTTISH 1939-2004)KABUKI ACTORSigned and dated ‘90,charcoal


£400-600



Post-War Art

48

83§ FG244/3PAT DOUTHWAITE(SCOTTISH 1939-2004)STRIPEY LADYSigned and dated ‘69,coloured chalk

57cm x 47cm (22.5in x 18.5in)

£300-500

84§ FG244/4PAT DOUTHWAITE(SCOTTISH 1939-2004)RED TURBANSigned, coloured chalk


£300-500

85§ FF450/1JAMES DOWNIE ROBERTSONR.S.A., R.S.W.(SCOTTISH b. 1931)DUETTESigned and dated ‘64,watercolour


£300-500



Post-War Art

49

86§ FE348/33BARBARA RAE C.B.E., R.S.A.,R.S.W. (SCOTTISH b. 1943)BEACH SCENESigned, mixed media

28cm x 37cm (11in x 14.5in)

£300-500

87§ FF151/67CARLO ROSSI R.S.W., R.G.I.(SCOTTISH 1921-2010)BARGA, TUSCANYSigned and dated ‘97, oil onboard


£200-300



Post-War Art

50

89§ FF173/3CARLO ROSSI R.S.W., R.G.I.(SCOTTISH 1921-2010)SUNSET BARGA, TUSCANYSigned and dated ‘62, oil onboard


Exhibited:Royal Scottish Academy 1966, no.81

£400-600

83

88§ FG368/1JAMES HAWKINS(SCOTTISH CONTEMPORARY)SPRING STORMS MOVE INACROSS THE SUMMERISLES, 1995Signed and inscribed with titleverso, mixed media on paper

54cm x 73cm (21.25in x 28.75in)

£600-800

90§ FG441/1JOHN HOUSTON O.B.E.,R.S.A., R.S.W., R.G.I., S.S.A.(SCOTTISH 1930-2008)STILL LIFESigned and dated 1965, oil oncanvas

112cm x 86cm (44in x 34in)

£5,000-7,000



Post-War Art

51

91§ FG93/3LESLIE MAIN(SCOTTISH 20TH CENTURY)SPRING FLOWERS IN AWHITE VASESigned and dated 1989, mixedmedia

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

Provenance:Portland Gallery, London , May 1989

£500-800



Post-War Art

52

92 FG359/4JANE DICKSON(AMERICAN b. 1952)EL NIÑO MOTORCYCLEArtist’s proof, aquatint

69cm x 50cm (27.25in x 19.75in)

and an identical print by thesame hand no. 10/100 (2)

£500-700

93§ FG414/1JAMES FULLARTON(SCOTTISH b. 1946)MARINA, TROONSigned, oil on canvas


£2,000-3,000



Post-War Art

53

94§ FG362/4DONALD MANSON(SCOTTISH CONTEMPORARY)LATE SUMMER LUNCHSigned, oil on canvas

90cm x 90cm (35.5in x 35.5in)

£700-900



Post-War Art

54

95§ FG362/1DONALD MANSON(SCOTTISH CONTEMPORARY)THE ARCHERSigned, oil on panel

77cm x 76cm (30.25in x 30in)

£500-700

96§ FG414/8LEON MORROCCO R.S.A.,R.G.I. (SCOTTISH b. 1942)BOATYARD ANDFRUITSTALLSSigned and dated ‘97, oil oncanvas


£4,000-6,000



Post-War Art

55

97§ FG244/7SAM SKELTON(SCOTTISH b. 1949)KILLING TIMESigned, acrylic on hessian


£400-600



Post-War Art

56

99§ FG437/16GEOFFREY ROPER(SCOTTISH b. 1942)AQUADUCTOil on canvas


£400-600

98§ FG359/1ANTHONY GREEN(BRITISH b. 1939)PARADISESigned and dated ‘99,numbered 10/100, screenprint


£300-500

100§ FG437/19SIR WILLIAM MACTAGGARTR.S.A., R.A., R.S.W., R.S.E.(SCOTTISH 1903-1981)STILL LIFE OF TULIPS ANDAPPLESSigned, oil on canvas


£3,000-5,000



Post-War Art

57

101§ FF151/45JACK MORROCCO(SCOTTISH b. 1953)EXOTIC DANCERSigned and dated ‘98, acrylicon board

30.5cm x 30.5cm (12in x 12in)

£300-500



Post-War Art

58

103§ FG437/17GEOFFREY ROPER(SCOTTISH b. 1942)EDINBURGH FIREWORKSOil on board


£400-600

102§ FG93/1LESLIE MAIN(SCOTTISH 20TH CENTURY)UNDER THE SHADE, KEY WESTSigned, oil on board


Provenance:Portland Gallery, London, May 1989

£250-350

104§ FG212/5PETER MCLAREN(SCOTTISH b. 1964)SKIPI GEO, ORKNEYSigned, inscribed and dated2001 verso, oil on board

167.5cm x 122cm (66in x 48in)

£4,000-6,000



Post-War Art

59



Post-War Art

60

106§ FG202/1ETHEL WALKER(SCOTTISH b. 1941)RIVER ADD TOWARDS MULLSigned, oil on board


£800-1,200

105§ FE363/2HENRI MATISSE(FRENCH 1869-1954)FROM FLORILEGE DESAMOURS DE RONSARDLithograph printed insanguine, published by AlbertSkira, Paris 1948, an editionof 300

25.5cm x 28cm (10in x 11in)

and another lithograph fromthe same series (2)

£600-900



Post-War Art

61

107§ FG202/2ETHEL WALKER(SCOTTISH b. 1941)MACHIR BAY, ISLAYSigned, oil on board

76cm x 122cm ( 30in x 40in)

£1,500-2,500

Arguably, few Britishabstractionist artists havegenuinely succeeded ininfiltrating publicconsciousness. WilliamJohnstone is among theoverlooked, though hissignificance gains recognitionyearly. Born in the Borders in1897, Johnstone, a powerfulpersonality, mixed with otherradical thinkers in theEdinburgh College of Art inthe 1920s. Alongside the poetHugh MacDiarmid heembraced the so-called“Scottish Renaissance”, aliterary and artistic movement



Post-War Art

62

108§ FG351/2WILLIAM JOHNSTONE O.B.E.(SCOTTISH 1897-1981)REPRESENTATION BLUESigned and dated 1963 verso,oil on canvas


£4,000-6,000

that looked to move awayfrom Scotland’s somewhatstagnant self-view towards amodernism of politics andcultural values. His travels toParis and America as a youngman further entrenched theseideals.

Teaching was to become hismajor passion, however, andhe held the position ofPrincipal at the CamberwellSchool of Art and Designbetween 1938 and 1945 andlater at the Central School ofArts and Crafts. In thiscapacity he evolved theideologies of each art school,

bringing them more in linewith principles akin to theBauhaus. His services toeducation within the artsearned him an O.B.E.

Johnstone’s own artworks areheavily influenced by AbstractExpressionism and see himvisibly revel in the qualities ofthe paint, his handlingintentionally naïve andvisceral. As a ‘pure’abstractionist, Johnstone’swork was perhaps difficult forthe majority of the public toget to grips with, representingas it does a sophisticated andslightly surreal visual

language. His reputation as agreat teacher and his lengthytime spent outwith Scotlandalso accounts for the slowrise in recognition of histalents and influence. As webecome increasingly wellversed in the appreciation ofart. so too comes aburgeoning understandingand enjoyment of the work ofartists like Johnstone.

WILLIAM JOHNSTONE

109§ FG351/3WILLIAM JOHNSTONE O.B.E.(SCOTTISH 1897-1981)COMPOSITION - BLUE ANDBROWNSigned and dated ‘69 verso,oil on canvas


£4,000-6,000



Post-War Art

63

110§ FG245/1PAUL NEAGU (BRITISH/ROMANIAN 1938-2004)BALLOONSigned and inscribed25.V.1969 Edinburgh, bearsstudio stamps, coloured penon millimetre paper laid oncard

26cm x 22cm (10.25in x 8.5in)

Provenance:The artist’s family

£1,000-1,500



Post-War Art

64

111§ FG245/2PAUL NEAGU (BRITISH/ROMANIAN 1938-2004)THE HANDSigned, studio stamped anddated 1969, mixed media onpaper laid on card

36cm x 23.5cm (14in x 9.25in)


£1,000-1,500

112§ FG245/4PAUL NEAGU (BRITISH/ ROMANIAN 1938-2004)SET OF 4 PLANS FOR THE MELVILLE STATUESigned, studio stamped and inscribed ‘Back viewof Lord Melville’s statue, Edinburgh, divided upto Neagu ‘P’s concept on 51 cells. Palpableinstallments (portions), 1969 Ed., 1971 London.New concept of metamorphosis’, pen onmillimetre paper

23cm x 29cm (9in x 11.5in)


£2,000-3,000



Post-War Art

65

113§ FG58/1SIR EDUARDO PAOLOZZI(SCOTTISH 1924-2005)SKETCH FOR ACONSTRUCTIONPencil and ink

25cm x 17cm (9.75in x 6.75in)

£300-500



Post-War Art

66

114§ FG245/3PAUL NEAGU (BRITISH/ROMANIAN 1938-2004)HUMAN HAND 20 CELLS -IMPULSES AND VECTORSSigned, inscribed and dated1972, oil and mixed media onunstretched canvas

38cm x 21.5cm (15in x 8.5in)

Provenance:the artist’s family

£1,500-2,500

115§ FG359/3PETER BLAKE(BRITISH b. 1932)UNTITLEDSigned in pencil to marginand numbered 10/100,stamped, screenprint


£400-600



Post-War Art

67

116§ FG377/4IAIN MCINTOSH R.S.A(SCOTTISH CONTEMPORARY)OUTWARD BOUNDCarved initials, wood carving

28cm (h) x 30cm (l) x 15cm (w)

(11in x 12in x 6in)

Exhibited:Royal Scottish Academy FestivalExhibition 1999, no.142

£200-300

117§ FG362/3DONALD MANSON(SCOTTISH CONTEMPORARY)GULL, BUOY AND HARBOURLIGHTSigned, oil on panel


£400-600



Post-War Art

68

119§ FG362/2DONALD MANSON(SCOTTISH CONTEMPORARY)LILIES BY A WATERFALLWITH DISTANT CLOUDBURSTSigned, oil on panel


£300-500

118§ FG93/5LESLIE MAIN(SCOTTISH 20TH CENTURY)PINK BLOSSOM IN MADEIRASigned and dated 1989, mixedmedia


£400-600

120§ FG212/1PETER MCLAREN(SCOTTISH b. 1964)STILL LIFE WITH CLARICECLIFF BOWLSigned, inscribed and datedverso 2013, oil on board

81cm x 67cm (32in x 26.5in)

£3,000-5,000



Post-War Art

69



Post-War Art

70

121§ FG341/1IAN HAMILTON FINLAY(SCOTTISH 1925-2006)PANZER V (PANTHERASEMI-REDUCTA)Painted wood - a unique workand the first in the series,with Ian Gardner, RoderickLyle and Robin Harrison1977/79

22.5cm x 31.5cm x 13cm

(9in x 12.25in x 5in)

Provenance:Frith Street Gallery, London 1991together with certificate ofauthenticity signed by the artist anddated 22nd March 1991 on GraemeMurray headed notepaper.

£5,000-8,000

As with many of the greatestartists of the 20th century,Hamilton Finlay’s genius istricky to pinpoint. Poetry isfused with sculpture,landscape with installation,politics with classicism; theresulting artworks enlivenedby active viewerinterpretation. The highlyintellectual and playful natureof Hamilton Finlay’s work hascemented his reputationamong critics and collectors,with the unique nature ofwhat he has achievedbecoming increasinglyappreciated. Ian HamiltonFinlay is still celebrated today,most recently in aretrospective exhibition at theTate Modern, London earlierthis year.

Born in the Bahamas in 1925,Hamilton Finlay was brought

up in poverty in Glasgow. Thewar interrupted much of hiseducation: he was evacuatedto Orkney at thirteen whicheffectively put an end to hisschooling and had been at theGlasgow School of Art only ashort time before being calledup in 1942. Hamilton Finlaywas clearly an extremelydedicated self-educator,however, and became apublished playwright after thewar ended. In 1950 heestablished the WildHawthorn Press, publishingthe work of artists fromaround the world. He isperhaps best known for hispoetry garden Little Sparta athis home in the Pentlands.Here, Hamilton Finlay wasable to harness the landscapeto enhance and contextualisehis poetry. Typically

Ian Gardner, Roderick Lyleand Robin Harrison. Though aunique work, it was part of aseries of wooden tanksHamilton Finlay created incollaboration with otherartists. Panzer tanks formeda part of what HamiltonFinlay referred to as his ‘neo-classical rearmamentproject’, alongside othermotifs such as aircraftcarriers and grenades.Through repetition andsubversion of the imagery inthe form of sculpture,printmaking and so on,Hamilton Finlay loads thePanzer tank with symbolism,both overt and allegorical. Aswith much of his other work,Hamilton Finlay employed witto confront and relieve thepolitical or occasionallycontentious references thatsometimes underlie his work.

paradoxical in that it is amixture of the carefullycurated and the organic, itrepresents the perfect venueto view his work.

Lyon & Turnbull are pleasedto offer several examples ofIan Hamilton Finlay’s work inour Scottish Contemporaryand Post-War Art sale. Rareto market is ‘Panzer V(Panthera Semi-Reducta)’,created between 1977-79 with

IAN HAMILTON FINLAY

122§ FG341/6IAN HAMILTON FINLAY(SCOTTISH 1925-2006)ARCADIALithograph by Ian HamiltonFinlay and George Oliver 1973

29.5cm x 39.5cm (11.5in x 15.5in)

£200-300



Post-War Art

71

123§ FG341/3IAN HAMILTON FINLAY(SCOTTISH 1925-2006)DIE HEIMAT IS NICHT DASLANDSilkscreen print, signed andnumbered 17/250, 1997

52cm x 80cm (20.5in x 31.5in)

£600-800



Post-War Art

72

124§ FG341/2IAN HAMILTON FINLAY(SCOTTISH 1925-2006)THE BLUE AND BROWNPOEMSSilkscreen prints by IanHamilton Finlay and DavidBann 1968


the complete set of twelveprints (12)

£2,000-3,000

125§ FG341/4IAN HAMILTON FINLAY(SCOTTISH 1925-2006)SOMEONE, SOMEWHEREWANTS A CABLE FROM YOUSilkscreen by Ian HamiltonFinlay and Jim Nicholson1977

50cm x 71cm (19.5in x 28in)

£600-800



Post-War Art

73

126§ FG341/5IAN HAMILTON FINLAY(SCOTTISH 1925-2006)CECI N’EST PAS UNE PIPELithograph after Magritte withGary Links 1991

57cm x 75cm (22.5in x 29.5in)

£600-800

127§ FF455/1NORMAN EDGAR R.G.I.(SCOTTISH b. 1948)PORTRAIT OF MARGARETTHATCHER - GLASGOW’SMILES BETTER CAMPAIGNSigned, oil on canvas


£800-1,200

129§ FG377/3EARL HAIG O.B.E., A.R.S.A.,F.R.S.A.(SCOTTISH 1918-2009)LANDSCAPE, BORDERSSigned, pastel andwatercolour


£400-600



Post-War Art

74

128§ FF151/46GORDON MITCHELL R.S.A.,R.S.W., R.G.I.(SCOTTISH b. 1952)PRIMA DONNASigned, dated on a label verso2001, oil on canvas

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

£400-600



Post-War Art

75

130§ FB791/26JOHN BELLANY H.R.S.A.,R.A., C.B.E.(SCOTTISH b. 1942)BY THE LOCK GATESigned, oil on canvas,unframed

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

£2,000-3,000

131§ FG415/1ALEXANDER MILLAR(BRITISH 20TH CENTURY)LET’S GET READY TORUMBLESigned, oil on canvas

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

Provenance:Artica Galleries, London

£3,000-5,000



Post-War Art

76

132§ FG415/2ALEXANDER MILLAR(BRITISH 20TH CENTURY)JOCK ON THE BACKSigned, oil on canvas


Provenance:Artica Galleries, London

£3,000-5,000



Post-War Art

77



Post-War Art

78

133§ FG341/8ADRIAN WISZNIEWSKI R.S.A.(SCOTTISH b. 1958)GATEWAYEtching printed in sanguine,signed and numbered 11/50

40cm x 30 (16in x 12in)

and another by the samehand printed in blue (2)

£200-300

134§ FF102/4ELIZABETH BLACKADDERD.B.E., R.A., R.S.A., R.S.W.(SCOTTISH b. 1931)MEADOWLANDSigned, pen and ink


£1,500-2,000

135§ FG241/1BARBARA BALMER R.S.A.,R.S.W., R.G.I.(SCOTTISH b. 1929)JOLLY STILL LIFESigned, pencil andwatercolour

46cm x 54cm (18in x 21.25in)

£400-600



Post-War Art

79

136§ FE348/80WILLIAM BAILLIE P.R.S.A.,P.R.S.W.(SCOTTISH 1923-2011)BLUE RIVERSigned, gouache

24cm x 19cm (5.5.in x 7.5in)

and a companion by the samehand ‘Last Dancers’ (2)

£300-500



Post-War Art

80

137§ FG356/2JOHN LOWRIE MORRISONO.B.E. (SCOTTISH b. 1948)WIND AND HAYSTACKS ISLEOF IONA LOOKING TOGRIBUN, MULLSigned and dated ‘99, signed,inscribed and dated verso, oilon board

61cm x 61cm (24inx 24in)

£1,500-2,500

138§ FF467/2BARBARA RAE C.B.E., R.A.,R.S.A. (SCOTTISH b. 1943)UNTITLEDMixed media


£2,000-3,000

139 FG96/4YANK WONG [WONG YANKWAI] (CHINESE, HONGKONG, b. 1955)PAYSAGE AU LIGNE VERTAcrylic and rice paper oncanvas, signed verso anddated 1989, unframed

160.5cm x 105.5cm (63in x 41.5in)

Exhibited:Le Cadre Gallery, Hong Kong,“Interior Landscape”, 1989

Provenance:Purchased from the artistPrivate Scottish collection

Note:In the 1970’s, Wong moved to Franceand studied at the Ecole Nationaledes Beaux Arts, initially in Poitiersand then Paris, and silk screenpainting at the Galerie Du HautPave. He was one of the earliest of ageneration of foreign trainedpainters who went to Europe tostudy, then returned to his nativeHong Kong to embark on a career incontemporary art. His work, with itsbold use of colour and overlappingpaint layers creating a sense ofdepth, is free of social, urban andhistorical context, allowing colourand structure to be the primaryfocus. The influence of his trainingin France is seen in his sensuousapproach to his work and can berelated to French modernistcontemporaries.

£2,000-3,000



Post-War Art

81



Post-War Art

82

140§ FF430/1CHRISTINE MCARTHUR(SCOTTISH b. 1953)STILL LIFE WITH LILIESSigned, oil on canvas

74cm x 90cm (29in x 35.5in)

£1,500-2,000

142§ FG212/4PETER MCLAREN(SCOTTISH b. 1964)SKETCH FOR CAR GIRLOil on board


£800-1,200

141§ FG351/1WILLIAM GEAR(SCOTTISH 1915-1997)SHARP ENCOUNTERSigned and dated ‘87, acrylic


£1,000-1,500

143§ FG414/7LEON MORROCCO R.S.A.,R.G.I. (SCOTTISH b. 1942)FISHING BOAT AND FISHMARKETSigned and dated ‘98, oil onboard


£4,000-6,000

END OF SALE



Post-War Art

83



Post-War Art

84

Arnold, E., 28, 29, 30

Baillie, W., 37, 136Balmer, B., 135Barr, S., 79, 80Bellany, J., 23, 27, 64, 66, 67,130

Blackadder, E., 134Blake, P., 115Blyth, R.H., 15Bone, W.D., 57, 58Bushe, C., 74Buyers, D.M., 69

Carr, D., 71, 72Castle, B., 55, 56Colvin, C., 36Cuming, J., 1Cunningham, J., 10

Devlin, G., 3Dickson, J., 92Douthwaite, P., 41, 42, 43, 82,83, 84

Edgar, N., 127

Farmar, F., 48Ferguson, D., 52Finlay, I.H., 121-126Firth, J., 2Fullarton, J., 63, 93

Gear, W., 141Gillespie, J., 6, 7Green, A., 98Greene, M.H., 31

Haig, E., 70, 129Hawkins, J., 88Houston, J., 90

Jacques, R., 11Johnstone, W., 108, 109

Kertesz, A., 32Klein, W., 33, 34

Laing, G., 73Lassen, J., 25Littlejohn, W., 17Low, B., 22

Macinnes, J., 49Mactaggart, Sir W., 100Main, L., 4, 50, 51, 91, 102,118

Manson, D., 45, 47, 94, 95,117, 119

Matisse, H., 105McArthur, C., 140McIntosh, I., 116McKean, G., 26McLaren, P., 39, 40, 104, 120,142

Michie, D., 61Millar, A., 131, 132Mitchell, G., 128Morrison, J., 76Morrison, J.L., 8, 12, 13, 14,137

Morrocco, A., 81Morrocco, J., 59, 59A, 60, 101Morrocco, L., 96, 143

Neagu, P., 110, 113, 114, 116

O'Connor, J., 24

Paolozzi, Sir E., 113Peploe, D., 77Pope, P., 9, 47

Rae, B., 86, 138Ray-Jones, T., 35Reeves, P., 16Robertson, J.D., 85Roper, G., 60, 62, 99, 103Rossi, C., 87, 89Rouault, G., 18, 19, 21

Sayle, N., 65Schilsky, E., 44Scully, S., 68Skelton, S., 97

Thomson, D., 53, 54, 78

Walker, E., 38, 106, 107Wiszniewski, A., 133Wong, Y., 139Wood, C., 75Wyllie, G., 20

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

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.

Glossary of Cataloguing Terms

Index

The Studios ofAuction Tuesday, 27th August, 2013 at 6pmat The Lighthouse, 11 Mitchell Lane, Glasgow G1 3NU

Around 200 artworks from the studios of Scottish artistsJohn Cunningham & George Wyllie

ViewingSun 25th 12-4pm, Mon 26th 10am-4pm, Tue 27th 10am-4pm

GG LL AA SS GG OO WW EE DD II NN BB UU RR GG HH LL OO NN DD OO NN WW WW WW .. LL YY OO NN AA NN DD TT UU RR NN BB UU LL LL .. CC OO MM

For more information and our fully illustrated online catalogues, please call 0141 333 1992 or visit our website.

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British & European Paintings & Sculpture Thursday, 28th November, 201333 Broughton Place, Edinburgh EH1 3RR

www.lyonandturnbull .com

WINIFRED NICHOLSON (BRITISH 1893-1981)

CHEEKY CHICKSOil on board


£50,000-70,000

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

Emily JohnstonMobile: +44 (0)7741 [email protected]

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

Fine Scottish Paintings & Sculpture Thursday, 28th November, 201333 Broughton Place, Edinburgh EH1 3RR

www.lyonandturnbull .com

SIR EDWIN LANDSEER R.A.(BRITISH 1802-1873)LORD MELBOURNEOil on board

25.5cm x 20cm (10in x 85in)

Provenance:

Thomas Agnew & Sons, London

£10,000-15,000

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

Emily JohnstonMobile: +44 (0)7741 [email protected]

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

ViewingSunday, 24th November, 2pm - 5pmMonday, 25th November, 10am - 5pmTuesday, 26th November, 10am - 5pmWednesday, 27th November, 10am - 5pmMorning of sale strictly by appointment only

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STANDARD TERMS &CONDITIONS OF SALE

Lyon & Turnbull carries on business withbidders, buyers and all those present inthe auction room prior to, or inconnection, with a sale on the followingGeneral Conditions and on such otherterms, conditions and notices as may bereferred to herein.

1. DEFINITIONS

In these Conditions:

(a) “Auctioneer” means the firm of Lyon &Turnbull or its authorised auctioneer, asappropriate;

(b) “deliberate forgery” means animitation made with the intention ofdeceiving as to authorship, origin, date,age, period, culture or source but which isunequivocally described in the catalogueas being the work of a particular creatorand which, at the date of the sale, had avalue materially less than it would havehad if it had been in accordance with thedescription;

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

(d) “terms of consignment” means thestipulated terms and rates of commissionon which Lyon & Turnbull acceptsinstructions from sellers or their agents;

(e) “total amount due” means thehammer price in respect of the lot soldtogether with any premium, Value AddedTax chargeable and any additional chargespayable by a defaulting buyer under theseConditions;

(f) “sale proceeds” means the net amountdue to the seller, being the hammer priceof the lot sold less commission at thestated rate, Value Added Tax chargeableand any other amounts due to us by theseller in whatever capacity and howeverarising;

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

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

2. BIDDING PROCEDURES AND THEBUYER

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

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

(c) Bidders shall be deemed to act asprincipals.

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

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

3. INCREMENTS

Bidding increments shall be at theauctioneer’s sole discretion.

4. THE PURCHASE PRICE

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

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.

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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

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Scottish Contemporary & Post War Art | 20/08/2013