§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) A GLASGOW BOY Signed, pastelDimensions:19cm x 10cm (7.5in x 4in)Provenance:Provenance: Bourne Fine Art, EdinburghNote: Note: The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)
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§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) CHILDREN PLAYING MARBLES With the Artist's Estate Inventory Number ED958, watercolourDimensions:28cm x 28cm (11in x 11in)Provenance:Provenance: The Artist's EstatePrivate Collection, ScotlandDuncan R. Miller Fine Arts, LondonExhibited: The Scottish Gallery, Edinburgh, Joan Eardley, Paintings, Watercolours, Pastels and Drawings, 1988, no.11 Note: Note: The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)
§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) BOY WITH BLUE TROUSERS PastelDimensions:45cm x 33cm (17.75in x 13in)Provenance:Provenance: William 'Bill' Macaulay and thence by descentPrivate Collection, U.S.A Note: Exhibited: The Scottish Gallery, Joan Eardley in Context, 6 August-5 September 2015, no.16Note: This is a portrait of Martin Macaulay and is one of several studies of the five children of William 'Bill' Macaulay, Senior Partner of The Scottish Gallery, Edinburgh, which Eardley executed in 1960. The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)
§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) PORTRAIT STUDY Pastel on coloured paperDimensions:16cm x 18.5cm (6.25in x 7.25in)Note: Note: The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)
JOSEPH HENDERSON R.S.W. (SCOTTISH 1832-1908) CHILDREN ON AN AYRSHIRE BEACH Signed, oil on canvasDimensions:46cm x 61cm (18in x 24in)Note: Note: While holidaying in Saltcoats around 1871, Joseph Henderson met William McTaggart, who heartily encouraged him to paint landscapes. Henderson had formerly painted figurative genre scenes, but was so inspired by the Saltcoats coast, and by McTaggart’s example, that he henceforth became a painter of seascapes. His work from this period is characterised by free brushwork and a clear, light palette. They incorporate figurative components (usually holiday-makers or fishermen), but these are treated pragmatically and integrated within the scenery so that the landscape remains of primary importance. It is perhaps for this reason that Henderson’s seascapes evade sentimentality. His ability to capture an airy coastal atmosphere, from the roiling dynamism of waves to a salty breeze, is particularly of note, as evidenced by these exceptionally fine examples.
§ JAMES MCBEY (SCOTTISH 1883-1959) OVATION TO THE MATADOR Signed, pen and ink and watercolourDimensions:46.5cm x 30.5cm (18.25in x 12in)Provenance:Provenance: Allinson Gallery, USA Note: Note: This work dates from c.1911McBey’s etchings proved incredibly popular with London audiences. His career break came with an exhibition at the Goupil Gallery, where he sold seventy-seven prints, and his most in-demand compositions were those inspired by travels abroad. He had first experienced the benefits of new visual and art-historical stimuli while travelling in the Netherlands in 1910, where he painted, drew, and studied Rembrandt’s etchings in the Rijksmuseum. Visits to Morocco and Spain followed shortly thereafter, and McBey amassed a significant body of work depicting Spanish bull-fighting rings.The thrilling, theatrical atmosphere of the ring is captured in The Ovation to the Matador (c.1911) wherein a bull-fighter in traditional attire presents himself triumphantly. The crowd he faces is unseen, but their jubilant reception is made evident by the matador’s raised arms and delighted expression. McBey adjusted this composition for a dynamic etching of the same title, which evidences his mastery of intaglio to evoke varied qualities of light and shadow.Spain would prove to be a continuing source of inspiration. A Brave Bull, San Sebastian (1932) (Lot 141) post-dates the etching market crash which compelled McBey to predominantly work in watercolour and oil paint.
§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) GINGER With the Artist's Estate Inventory Number EE30 verso, oil on boardDimensions:43cm x 37cm (17in x 14.5in)Provenance:Provenance: Roland, Browse and Delbanco, LondonNote: Note: The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)
§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) TWO CHILDREN Pastel on brown paperDimensions:25.5cm x 20cm (10in x 8in)Provenance:Provenance: Acquired from the Artist’s Estate by the father of the present owner.Exhibited: Royal Scottish Academy, Edinburgh, Joan Eardley, 6 November 2007-13 January 2008Note: Note: The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)
JOHN DUNCAN R.S.A, R.S.W. (SCOTTISH 1866-1945) CATHEDRAL ROCK, NORTH END, IONA Signed, oil on boardDimensions:38cm x 46cm (15in x 18in)Note: Note: Whilst serving in World War One, Cadell wrote to his fellow Scottish Colourist S. J. Peploe:When the War is over I shall go to the Hebrides, recover some virtues I have lost. There is something marvellous about those western seas. Oh, Iona. We must all go together. (quoted in Alice Strang et al, S. J. Peploe, National Galleries of Scotland, Edinburgh, 2012, p.24)True to his word, Cadell introduced Peploe to the Hebridean island, off Scotland’s west coast, in 1920 and they returned there most summers for the rest of their lives. Cadell first visited Iona in 1912, possibly because it was owned by his friend Ivar Campbell’s uncle, the 9th Duke of Argyll. He may also have been encouraged to do so by the fact that his friend John Duncan began painting there in 1903, followed by James Paterson and William Caldwell Crawford.As Alice Strang has explained:Iona has many attractions for the artist…It is low-lying, so the light reflected from the surrounding sea intensifies the colours of the white sand beaches and the green of its pastures. The light shining through the shallow waters at the edge of the shore creates brilliant colours of emerald green, blue and violet. In addition, the light and weather change frequently, as the prevailing winds cause a quick succession of cloudy then clear intervals. Iona is known for its geological diversity and there is a wide variation of colours in its rock formations; the red granite of the Ross of Mull is easily visible across the Sound on the east coast, as is the mountain of Ben More. There are also numerous views beyond Iona, particularly from the north end towards Staffa and the Treshnish Islands. On the island itself the main architectural features are the Abbey, the Nunnery and related buildings, the village and scattered crofts. (Alice Strang, F. C. B. Cadell, National Galleries of Scotland, Edinburgh, 2011, p.77)In 1903 Duncan moved to Edinburgh from America, where he had been teaching art at the Chicago Institute. A visit to Iona helped him to plan for the future and ‘he started by making a vow to devote his time to the realisation of spiritual art and to gather the crops of his imagination rather than let them rot in untended fields.’ (John Kemplay, The Paintings of John Duncan A Scottish Symbolist, Rohnert Park, 1994, p.43). Duncan played a key role in the Celtic Revival which blossomed in the 1890s and Iona provided the setting for some of his most important Symbolist works, which celebrated Celtic mythology; it was also where he is reported to have encountered Gaelic fairy-folk for the first time. Such was the inspiration that the island afforded Duncan, that he was to work there, on and off for forty years, often at the same time as Cadell and Peploe.Duncan’s Cathedral Rock from the North End of Iona shows a view made famous by the more well-known images of the scene by his Scottish Colourist friends. Cathedral Rock is part of the headland at the extreme north-east corner of the island and is the location of some of its most dramatic geology. The view shown is out to Eilean Annraidh, Staffa and Mull.Auchabhaich Croft first appears in Cadell’s Register of Pictures (Private Collection on long-loan to the National Galleries of Scotland) in 1914 (work no.30), presumably painted during his trip to the island the preceding year. It is one of the crofts situated north of the village and Cadell was to paint it on many occasions, not least as it was not far from Cnoc cùil Phàil, the croft on which he most frequently stayed after the War. The buildings depicted nestled within Auchabhaich Croft, Iona still exist, albeit extended in various directions. A T. & R. Annan & Sons Ltd label on the painting’s reverse gives it the title ‘Nightfall Iona’ and the image appears to capture the gentle light of the gloaming, as evening falls over the peaceful scene, with its reach to the Paps of Jura in the distance.Mull from Iona leads the eye from a patchwork quilt of fields across the Sound to the neighbouring island, with particular attention paid to the tumult of weather conditions played out across the sky. This painting formerly belonged to Cadell’s great patron, the shipowner George W. Service, who holidayed on Iona. He reportedly donned a tartan dress jacket for the night of his annual purchase of work by Cadell and appears regularly in the artist’s Register of Pictures from 1913 until 1927.Service would often make multiple acquisitions at a time, usually but not exclusively images of Iona, commissioned portraits of some of his children and supported the artist’s sales in exhibitions such as those mounted by the Society of Eight in Edinburgh. His support sometimes formed the backbone of Cadell’s income, for example when he purchased fourteen works in 1921 for a total of £725, which was 40% of Cadell’s recorded total sales of £1,786 for the year. Two years after Cadell’s death, Mull from Iona was one of three works lent by Service to the landmark Exhibition of Scottish Art mounted at the Royal Academy of Arts in London.Peploe was nearly fifty years old when he first painted on Iona. He was thus able to approach its visual possibilities with the experience of a mature artist and was particularly drawn to the natural beauty of the north end and the views from it. Treshnish Point from Cows Rock was painted in this area; its dramatic composition sees the beach and protruding rocks occupy all but the upper fifth of the image. Peploe’s technique uses the materiality of oil paint to convey a sense of the texture of sand and weathered rocks, around which inviting paths meander. Between the alluring blue of the sea and the active sky can be glimpsed the west end of Eilean Annraidh in the middle distance and Treshnish Point on the horizon. A closely related painting by Peploe, Iona, Grey Day, is in the collection of Aberdeen Art Gallery and Museums.
◆ SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) STILL LIFE WITH ROSES Signed, oil on canvasDimensions:46cm x 40.5cm (18in x 16in)Provenance:Provenance: MacConnal-Mason & Son Ltd, LondonNote: Note: In 1929, Peploe declared ‘There is so much in mere objects, flowers, leaves, jugs, what not – colours, forms, relation – I can never see mystery coming to an end.’ This reveals the inspiration he found in the still life genre throughout his distinguished career, as can be seen in Still Life with Roses.As Roger Billcliffe has explained:Peploe set himself as a target the perfect still-life painting…His temperament made him ideally suited to the task. His calm reasoning and thoughtful manner enabled him to make a careful analysis of the problems which face the still-life painter and he set about resolving them in a series of works which includes many of his most satisfying paintings. (Roger Billcliffe, The Scottish Colourists, London, 1989, p.51)This lyrical painting is likely to have been created in Peploe’s studio at 54 Shandwick Place in Edinburgh’s West End, which he occupied from 1918 until 1934. His niece, Margery Porter, recalled visiting him there:How well I recollect my Mother and myself climbing those steep stairs and arriving panting at the top to ring his bell in fear and trembling lest our climb had been in vain. But usually he would usher us in wearing a white painting coat and a crownless hat…The studio was a large one, round which I would prowl entranced, after strict warnings not to disturb the still-life group which would almost inevitably be covering the table. My uncle would arrange and re-arrange these groups for perhaps three days before he was satisfied that the balance and construction were perfect, then he would paint them quite rapidly. (quoted in Alice Strang et al, S. J. Peploe, Edinburgh 2012, p.23)Peploe assembled a cast of objects which recur in his paintings like trusted friends, often crowned by the roses with which he is particularly associated and which he would often buy from the flower and fruit stalls of Princes Street; they were able to hold their shape long enough to satisfy his painstaking working process. The length of patterned fabric, be-ribboned black fan and platter in Still Life with Roses were all familiars by which he strove to create images of beauty and balance.The depiction of stems in water, seen through glass, was a painterly challenge from which Peploe did not shy away. Indeed, as can be seen here, it was often a way in which to show his mastery of applying oil paint to canvas in order to convey reflection, transparency and refraction. Works of this period show a relaxing of his technique from the tight control of the early 1920s, to a freer and more expressive approach to depicting form and light. Black and white provide the structural basis of the composition and a contrast to the decorative qualities and rich colour of other passages. Viewed from above and at an angle, Peploe seamlessly leads the eye from foreground to background, with particular attention paid to the variegated tones of the flower heads, their petals realised in thick, short brushstrokes.Peploe exhibited and sold still lifes regularly throughout his career and it is for his achievements in this genre that he is most celebrated as one of Scotland’s leading artists of the twentieth century.
◆ ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905) SWEET VIOLETS Oil on canvasDimensions:68.5cm x 104cm (27in x 41in)Provenance:Provenance: Alexander Ogston, ArdoeAcquired from the above by the sitters's husband and thence by family descentPrivate Collection, Scotland Exhibited: Royal Glasgow Institute, Glasgow, 1897, no.149Aberdeen Artists Society, Aberdeen, 1906, no.488Burlington Fine Arts Club, London, 1907, no.43Royal Scottish Academy, Edinburgh, 1926, no.335Palace of Arts, Empire Exhibition, Bellahouston Park, Glasgow, 3 May-29 October 1938, no. 59.Aberdeen Art Gallery, Aberdeen, Robert Brough ARSA, 18 February-25 March 1995, no.63, pp.50-51 Note: Note: In around 1900 a young Aberdonian artist named Robert Brough arrived in London. A rising star whose recent paintings had prompted a media frenzy, Brough felt compelled to relocate to the English capital to further develop his artistic career. Chelsea was the beating heart of London’s art world; accordingly, Brough took a lease at Rossetti Studios in Flood Street.Despite his youth, Brough already had the experience and credentials to mark him as an artist of consequence. He had trained in Paris at the Académie Julian, where in 1894 he shared lodgings with the Scottish Colourist S. J. Peploe (1871-1935), and following this spent a period working in Brittany, inspired by Paul Gauguin (1848-1903). He was charmed by the traditional way of life of the Breton people, and by the distinctive quality of light and vivid colouring of the landscape.Both Gauguin and Brough assimilated the tenets of the Synthesist movement, a painting style which prioritised the use of flat planes of harmonious colour and of rhythmic, pattern-inflected composition over more naturalistic representation. Brough’s Brittany work firmly acknowledges Syntheticism but is tempered by an observational grounding, owing to his fascination with the Breton peoples’ lives and customs. His paintings from this period constitute a sensitive record of a traditional people, rendered with an innovatively modern, almost post-Impressionist eye.Jennifer Melville observed that ‘In Breton Women Sitting on a Beach Brough sets the silhouettes created by [the] local costumes against a glowing pink sand - coming as close to Gauguin’s flat patterns as in any work’. (Jennifer Melville, Robert Brough, Aberdeen Art Gallery, 1995, p.21)Upon returning to Aberdeen in 1894, Brough began to earn a living as a portrait artist. He soon attracted commissions from notable families in the area, particularly those involved with the arts. His style retained the compositional brilliance of his earlier work, but his technique became increasingly dynamic and ‘sweeping’ owing to his confident application of licks of oil pigment. Sweet Violets dates to 1897, when Brough was establishing himself as an accomplished society portraitist, and is one of the artist’s masterpieces. His characteristically flamboyant brushwork delineates the elegant profile and fashionable attire of his subject, Barbara Staples, whom Brough had secured permission to paint after a meeting in Aberdeen. Affixed under Staples’ spectacular hat is a delicate patterned veil, through which her pink lips and cheeks are visible. She holds aloft a jar of violets, with their purple hues reflected at her throat and cuffs, inviting comparison between the beauty of the sitter and the flowers she holds. Sweet Violets and a companion painting titled Fantaisie en Folie (now in the Tate collection) implement a similar palette and portray their sitter in profile against a plain background, which Thomas Cooper suggests may have been informed by John Singer Sargent’s Madame Gautreau Drinking a Toast (1882-1883). (Thomas Cooper, ‘A Monstrous Imagining of Matter and Spirit: Robert Brough’s Fantaisie en Folie (1897)’, Immediations, Courtauld Institute of Art on-line journal, vol.4, no.3, 2018, accessed 10 May 2023) Brough’s companion portraits were exhibited widely to exceptional acclaim, rendering the young artist something of a critical phenomenon.Sweet Violets was acquired by Alexander Ogsten and hung in his home at Ardoe House, Aberdeen, for many years. So enamoured was Ogsten with the painting that he declined the many offers he received for it - including those made by Barbara Staples’ husband. Eventually the portrait was exhibited in a Munich gallery in 1960, where Staples’ family were able to purchase the picture and return it to the family. They, in turn, refused to accept any offer that was made for it, and for a long time it remained a family treasure. In the 1990s an article appeared in Country Life magazine searching for Brough’s lost masterpiece, and the Staples family responded explaining that the portrait was in their collection, and that the sitter was their grandmother. In 1995 Sweet Violets was included in Aberdeen Art Gallery’s Brough exhibition, after which it was loaned to, and ultimately purchased by, the present vendor.The success of Sweet Violets and Fantaisie en Folie encouraged Robert Brough to move to London. He promptly joined the Chelsea Arts Club, where he met Sargent, one of his artistic heroes. The pair became close friends, developing a mentor-protégé relationship and taking nearby Chelsea studios. Thanks in part to Sargent’s support, Brough’s painting career flourished year upon year. Young, ambitious, and precociously talented, Brough was on an impressive professional trajectory, yet was unable to reach the soaring heights for which he appeared to be destined on account of a tragic accident. On 20th January 1905 Brough was travelling by train from Perth to London when a major crash occurred. He suffered serious burns and died the following day, with his mother and Singer Sargent at his bedside. His life, and extraordinary potential, was thus curtailed. Throughout his life Brough was successful and well-known; his obituary recorded that he combined ‘the dash of Sargent and the beautiful refinement of Velazquez.’ (The artist W. G. Robb quoted in an obituary in a Scottish newspaper, 1905) Despite this, his early death appears initially to have prevented him from being fully admitted to the canon of great painters in the history of Scottish art. This is largely due to the brevity of his career: relatively few artworks survive and he had less time than most to crystallise his artistic legacy. Fortunately, recent reviews of Scottish painting have done much to reinstate Brough’s status as a painter of remarkable quality, who worked at the forefront of innovative artistic movements, both in Britain and in France. Robert Brough’s artworks appear on the market infrequently, and Lyon & Turnbull is therefore particularly delighted to be offering two tour-de-force oils, both of exceptional importance and each dating to key moments in his career.
§ JAMES MCBEY (SCOTTISH 1883-1959) OVATION TO THE MATADOR Signed and numbered XIII in pen to margin, etching from an edition of 30Dimensions:26.5cm x 17cm (10.5in x 6.75in)Note: Note: McBey’s etchings proved incredibly popular with London audiences. His career break came with an exhibition at the Goupil Gallery, where he sold seventy-seven prints, and his most in-demand compositions were those inspired by travels abroad. He had first experienced the benefits of new visual and art-historical stimuli while travelling in the Netherlands in 1910, where he painted, drew, and studied Rembrandt’s etchings in the Rijksmuseum. Visits to Morocco and Spain followed shortly thereafter, and McBey amassed a significant body of work depicting Spanish bull-fighting rings.The thrilling, theatrical atmosphere of the ring is captured in The Ovation to the Matador (c.1911) wherein a bull-fighter in traditional attire presents himself triumphantly. The crowd he faces is unseen, but their jubilant reception is made evident by the matador’s raised arms and delighted expression. McBey adjusted this composition for a dynamic etching of the same title, which evidences his mastery of intaglio to evoke varied qualities of light and shadow.Spain would prove to be a continuing source of inspiration. A Brave Bull, San Sebastian (1932) (Lot 141) post-dates the etching market crash which compelled McBey to predominantly work in watercolour and oil paint.
![Union of England and Scotland, 1707, a copper medal, unsigned [by J. Croker], crowned bust of Anne left, rev. Anne, as Pallas](https://cdn.globalauctionplatform.com/4d2f2c3b-f72c-4dbd-95df-affd00ba45f9/92f22f29-1414-4f74-a119-affd00eefe18/468x382.jpg)
Union of England and Scotland, 1707, a copper medal, unsigned [by J. Croker], crowned bust of Anne left, rev. Anne, as Pallas, standing facing holding spear and shield, 70mm (MI II, 298/115; E 423). Some light scratches in fields, otherwise good very fine £150-£180 --- Provenance: Spink Auction 194, 26-27 March 2008, lot 137
FRANCE, Yachting-Club d’Arcachon, a silver award medal by A. Rivet, named (1er Prix, Lotus, 19 Août 1894), 40mm; Club Nautique Dieppe, a bronze award medal, signature unclear, engraved (Dieppe C.N.D. 1922), 49mm; Yachting No.2, 1930, a bronze award medal by L. Haffner for Fraisse, un-named, 50mm (CGMP p.189); Régates, 1930, a light bronze award medal by A. Rivaud, engraved (Foire de Montrichard, 1963), 50mm (CGMP p.349); Société des Régates du Havre, 1967, a plated bronze medal for Drago, 50mm [5]. Very fine and better; first toned and with loop for suspension, second in original maroon fitted case £70-£90
Visit of the Duke and Duchess of York to the City of London, 1893, a bronze medal by G.G. Adams for the Corporation of the City of London, conjoined busts left, rev. Duke and Duchess in biga driven by Cupid, being presented with a cornucopia by Londinia, 76mm (W & E 1763A.1; BHM 3452; E 1780). Light scratches in obverse fields, otherwise good very fine £60-£80
City of Edinburgh & Midlothian Rifle Association, Caledonian Challenge Shield (Est. 1863), a copper award medal, unsigned [by Kirkwood], 37mm (Brodie 488; cf. DNW 135, 1339); Sir Winston Churchill Memorial, 1967, a light bronze medal by G. Colley for Slade Hampton, 65mm (Engstrom 74); The Royal Opera House, a silver Long Service medal, unsigned, un-named, 57mm (cf. DNW 160, 1162); The Commonwealth Shooting Federation, European Division, Championship, a plated medal, un-named, 57mm; PORTUGAL, Asas de Portugal [Wings of Portugal], a bronze medal, unsigned, for Medaglia, 80mm; other base metal medals (2) [7]. Those described extremely fine; fifth in blue case of issue £50-£70
![AUSTRIA, Öesterreiches Zee Verein [Austrian Sailing Association], a bronze 5th Prize medal, unsigned, engraved (31-8-’35), 46](https://cdn.globalauctionplatform.com/4d2f2c3b-f72c-4dbd-95df-affd00ba45f9/2677c94a-5c22-44af-9d82-affd00f00613/468x382.jpg)
AUSTRIA, Öesterreiches Zee Verein [Austrian Sailing Association], a bronze 5th Prize medal, unsigned, engraved (31-8-’35), 46mm; GERMANY, a plated bronze award medal, unsigned, engraved (Einhart der Seefahrer Seinen Freunden), 36mm; HUNGARY, Magyar Vitorlás Szövetség Bajnokság [Hungarian Sailing Association Championship], 1950, a base metal award medal, unsigned, 40mm; MALTA, Royal Malta Yacht Club, Middle Sea Race, a bronze award medal for the Malta Tourist Board, named (Dee, 1970), 30mm; NETHERLANDS, Koninkluke Nederlandsche Zeil-en Roei-Vereeniging [Royal Dutch Sailing and Rowing Association], medals by C.J. Begeer (3), in silver, 26mm, bronze (2), both 55mm, one dated 1937, and a light bronze award medal by Hella Unger, engraved (Loeuesteijn Wedstr, W.S.U. de Merwede, 1e Prijs, K1:C), 40mm; SPAIN, Club Nautico Real, an oval gilt brass badge, engraved (Regates Nacionals 1921), 45 x 32mm; SWEDEN, Sveriges Militära Idrottsförbund [Sweden's Military Sports Association], 1909, a silver award medal, unsigned, engraved (Memory of Yacht-Racing at Karlskrona, 1950), 34mm [10]. Generally very fine; two with loops for suspension, fifth in card box of issue £70-£90
Visit of Christian IX and Louise of Denmark to the City of London, 1893, a light bronze medal by F. Bowcher for the Corporation of the City of London, conjoined busts right, rev. Londinia seated, façade of the Guildhall behind, struck at the Paris Mint, 75mm (W & E 1766A.1; BHM 3454; E 1783). Carbon spot on obverse, otherwise good very fine £100-£120
IRELAND, Royal Ulster Yacht Club, Shamrock III, America’s Cup, 1903, a light bronze medalet, 19mm; Irish Yachting Association, a uniface plated brass medal, unsigned, named (T.N.T. IPEC, Helmsman’s Championship of Ireland, East Antrim Boat Club, 1984), 52mm; Irish Cruising Club, Faulkner Cup, a bronze award medal, unsigned, set into a wooden plaque, named (Samharcin, Hugo de Plessis, 1996), 51mm [3]. Very fine, first with loop for suspension, second removed from a display mount £60-£80 --- Hugo de Plessis (1923-2018), b Lymington, marine surveyor and pioneer in the field of fibreglass; educ. Southampton University; served in Fleet Air Arm 1942-6, as a radar technician; founded the Ropewalk Boatyard, Lymington; moved from Boldre, Hampshire, to Bantry Bay, where he was commodore of the Bantry Bay Sailing Club. Sold with further background information
CLIFTON KARHU (AMERICAN/JAPANESE) AFTERNOON IN GION woodblock on paper, signed, titled and numbered 46/100 in pencil, mounted, framed and under glassimage size 42cm x 42cm, overall size 58cm x 57cmA few very light marks to frame but the print is in excellent order and overall a very nice item.
PAIR OF JAPANESE SATSUMA VASES MEIJI PERIOD (1868-1912) each decorated with a continuous scene of figures by a lake, along with a Japanese Satsuma moon flaskthe pair of vases each 15.3cm highQty: 3The satsuma vases are generally good. Light wear including gilt rub.The moon flask fair. With restoration and repainting to neck. Further wear including gilt rub. Manufacturing flaws including glaze crazing. Unusual fibrous quality to glaze on one side. Additional images now available.
CHINESE BLUE AND WHITE OVOID VASE LATE 19TH/EARLY 20TH CENTURY with twin applied deer head handles, painted with Dragon Boat Festival scene (Duan Wu Jei, 端午节), further detailed to neck, shoulder and foot with floral devices, six character Guangxu mark to base24.5cm highLight fritting to rim, appears to have been damage and repair to the ears of one of the deer marks, surface dirt, glaze inclusions and imperfections, further light general wear, additional images available
CHINESE SILVER BOWL EARLY 20TH CENTURY of circular form, embossed with dragons and on a spreading foot, bearing presentation inscriptions to lower body, maker Wang Hing, stamped to base12cm diameter Qty: 169gPart of the bowl reads: "Won by David Robertson 2007".Another section reads 'Presented by David Cooper Hong Kong to the Spittalfield Bowling Club' A further section reads 'Won By Duncan McBeath 1921' 'George Slidders 1922' 'Wm Buchanan 1923' 'James Shaw 1924' 'David Baxter 1925' 'James Shaw 1926'No condition issues to note. Very light surface marks and tarnishing.
CHINESE CANTON BOWL MID/LATE 19TH CENTURY along with a similar plate, each painted with a scene of figures to the centre and the borders with panels of birds and butterflies the bowl 22.5cm diameterQty: 2Several small chips to the plate rim. Both items with hairline cracks and light surface scratches. A little colour and gilt fading.
CHINESE SANG DE BOEUF VASE 20TH CENTURY with twin mythical creature handles each suspending a ring 46cm highCrazed, general surface wear including light surface scratches including where handles rub against the body, fritting to foot rim, handles might have had finials which have been broken off, some minor firing and glaze flaws including a shallow compression to body; both handles applied at an angle; small glaze chips to foot; also glaze pitting throughout; additional images available
CHINESE BLUE AND WHITE LIDDED VASE C.1900 of baluster form, the cover with foo dog finial, with applied faux-bronze bands, painted with birds and butterflies amongst flowering branches, character mark to base65cm highIn overall good condition. Several sections of restoration and cracks to the rim/neck. In need of a light clean. Marks/flea bites through the main body of the vase. Foot has several chips. Lid in good condition. A couple of firing imperfections. Chips to the rim. Additional images now available.
CHINESE MATCHED SILVER THREE PIECE TEA SERVICE 19TH CENTURY comprising a tea pot, jug and twin handled lidded jar, each decorated with bamboo trees, the teapot and sugar bowl marked for Tuckchong, the cream jug Nanking [...]This lot contains elephant ivory material. Several countries, including in the EU and USA, prohibit the importation of ivory items unless under specific conditions. Prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding.Ivory Act 2018 (2022) compliant with APHA registration reference 36FYZ75Q.tea pot 23cm high (including lid)Qty: 1273g grossThe first image of the markings refers to the teapot, the second to the sugar bowl and the third to the cream jug which to confirm is marked 'Nanking...' and 'Silver' with a rubbed character mark; teapot cover hinges loose, lifts to one side, finial slightly at an angle, noticeable nick to top of handle;sugar bowl cover slightly misshapen and lifts to one side, finial at a slight angle, very slight wobble on an even surface; cream similar, knock to spoutall with light general wear including nicks, scratches, some pitting, slight knocks or compressions, slight impressions and tarnish
MALAYER RUG with central medallion and geometric designs on a red and blue ground 195cm x 116cmThere is some thinning and apparent very small losses, light fraying and general wear, some fraying, shortening and discolouration to the tassels, some patches to edges which might have been repaired or worke on at some point, additional images available
JAPANESE BRONZE GROUP OF AN ELEPHANT AND CROCODILE EARLY/MID 20TH CENTURY the elephant modelled with one leg on the crocodile's body, both the elephant and the crocodile with bearing marks, on a polished wood standthe wood stand 40cm longIn overall good condition. Elephant tusks with slight wear as well as around the feet. In need of a light clean. The surface scratched. Crocodile in summilar condition. Surface scratches and in need of a light clean. Wooden base suffering from scratches and faded.Additional images now available.
Capote (Truman) Other Voices Other Rooms, first edition, contemporary ownership name to pastedown, half-title working loose, original cloth, spine sunned, lightly soiled, dust-jacket lightly chipped and frayed at edges, short tears to upper panel and along joints, New York, 1948; The Muses are Heard, first edition, original decorative cloth, dust-jacket, light rubbing and fraying to edges, extremities chipped, lower panel a little discoloured, New York, 1956; The Muses are Heard, first English edition, original cloth, lightly soiled, dust-jacket price-clipped, portions of loss to lower panel head and tail, lightly rubbed and discoloured; and 6 others by the same, v.s. (9)
![Cunard (Nancy) Parallax, first edition, [one of c.420 copies], bookplate of Duff Cooper to pastedown, very light spotting to](https://cdn.globalauctionplatform.com/6024781b-4e3d-4383-9e8c-b01400c0a70a/8693c503-9c17-4625-8866-b01400e86efc/468x382.jpg)
Cunard (Nancy) Parallax, first edition, [one of c.420 copies], bookplate of Duff Cooper to pastedown, very light spotting to first few pages, original pictorial boards, a little browned and rubbed, spine ends and corners bumped, 8vo, Hogarth Press, 1925.⁂ Duff Cooper (1890-1938) was a Conservative Party politician and literary patron, running in the circles of Evelyn Waugh, Cecil Beaton and others in their circle.
Christie (Agatha) The Hollow, ownership inscription to front free endpaper, cloth spine ends faded, jacket spine faded, chips to spine ends and corners, light creases and chips to edges, 1946 § Goldsborough (Robert) The Last Coincidence, jacket with creases and nicks to extremities, 1991 § Mackenzie (Donald) Night Boat to Puerto Vedra, jacket a little creased at edges, 1970, first editions, original boards, dust-jackets; and 25 others, crime fiction, 8vo (28)
Milne (A. A.) Now We Are Six, first edition, illustrations by Ernest Shepard, light browning to half-title and colophon, pencil name and slight spotting to endpapers, original pictorial cloth, slight shelf-lean, corners and spine-ends a little bumped, light rubbing to extremities, dust-jacket, light browning to spine, spine ends and corners a little chipped, some light toning and surface soiling, but an excellent copy overall, 8vo, 1927.
![[Harrison (Michael)], "Michael Egremont". The Bride of Frankenstein, first edition, half-title, occasional light finger-soili](https://cdn.globalauctionplatform.com/6024781b-4e3d-4383-9e8c-b01400c0a70a/11e2eb78-7909-4d6b-9df6-b01400e7b6af/468x382.jpg)
[Harrison (Michael)], "Michael Egremont". The Bride of Frankenstein, first edition, half-title, occasional light finger-soiling, cracked hinges, original cloth, rubbed, bumping to corners and spine extremities, facsimile dust-jacket, lightly creased, 8vo, The Queensway Press, [1936].⁂ This was published simultaneously with the "Readers Library" edition.
![Faulks (Sebastian) [The French Trilogy], 3 vol., comprising, The Girl at the Lion d'Or, very light fading to spine, 1989; Bir](https://cdn.globalauctionplatform.com/6024781b-4e3d-4383-9e8c-b01400c0a70a/9e8ca853-426a-4c7b-bb7e-b01400ea9342/468x382.jpg)
NO RESERVE Trevor (William) The Old Boys, jacket spine lightly faded, small staining patch to spine tail, 1964; The Love Departments, light creasing and chipping to jacket extremities, 1966; Nights at the Alexandria, 1987, first editions, original boards, dust-jackets; and 2 others by Trevor, 8vo & 4to (5)
Didion (Joan) Sloughing Towards Bethlehem, first English edition, light even foxing to first few pages, original cloth, dust-jacket, a fine copy, 1969 § Jansson (Tove) Tales From Moomin Valley, first English edition, light foxing to endpapers and first few pages, original cloth, dust-jacket, light browning to spine with nicks to ends, otherwise an excellent copy, 1963 § Woolf (Virginia) Three Guineas, first edition, browning to endpapers, original cloth, rather discoloured, 1938; and 10 others, 20th century literature, 8vo (13)
Vance (Jack) Light From a Lone Star, first edition, New York, 1985; Maske: Thaery, first edition, New York, 1976; The Gray Prince, first edition, Indianapolis & New York, 1974; The Eyes of the Overworld, Boston, 1977, signed by the author, original boards, all but the last with dust-jackets, fine copies; and 11 others by Vance, all excellent copies, 8vo (15)
Berckman (Evelyn) Lament for Four Brides, first edition, signed presentation inscription from the author to title, 1959 § Newman (Bernard) Operation Barbarossa, 1956 § Pratt (Theodore) Murder Goes to the World's Fair, [c.1950] § Fair (A.A.) Owls Don't Blink, jacket chipped to spine head, 1951 § Walsh (J.M.) Spies in Spain, [1938], first editions, original boards or cloth, dust-jackets, light creased and chipped to edges, short closed tears to upper edge; and 6 others, crime fiction, 8vo (11)
Tolkien (J.R.R.) The Lord of the Rings, 3 vol., first editions, first impressions, state with signature mark '4' and sagging text block to p.49 of The Return of the King, folding maps at end of each vol., light offsetting from cellophane wrapping to endpapers, otherwise internally clean, modern red cloth in the style of original, a very sharp set, 8vo, 1954-55.
Hilton (James) Goodbye Mr. Chips!, first edition in book form, endpapers toned, lightly foxed throughout, original boards, dust-jacket, tears along edges, worse to upper edge, corners chipped and creased, lightly rubbed, 1934; To You Mr. Chips!, endpapers browned, light foxing, original boards, dust-jacket, spine browned, spine ends a little rubbed and frayed, 1938, 8vo (2)
Burgess (Anthony) Beds in the East, first edition, light spotting to first few pages, very small portion of loss to jacket spine head, 1959; The Right to Answer, 1960; "Joseph Kell". One Hand Clapping, jacket price-clipped, 1961; The Wanting Seed, 1962; Inside Mr Enderby, jacket price-clipped, 1963; Nothing Like the Sun, BBC compliments slip loosely inserted, jacket spine head a little frayed and creased, 1964, first editions, original boards, dust-jackets, light chipping and nicks to extremities, otherwise very good or excellent copies; and c.40 others by or relating to Burgess, 8vo (c.45)
Spark (Muriel) The Prime of Miss Jean Brodie, first edition, original boards, dust-jacket, very light rubbing to joints and spine ends, otherwise a near-fine copy, 1961; The Girls of Slender Means, first edition, signed presentation inscription from the author to front free endpapers, original boards, dust-jacket, jacket spine lightly faded, 1963; Tribute to Wordsworth, one of 200 copies, original boards, repairs to joints, spine lightly rubbed, 1950; and 11 others by Spark, 8vo (14)
Tolkien (J.R.R.) Tree and Leaf, 4pp. catalogue at end, original boards, spine tail bumped, dust-jacket, light creasing to upper panel, a few nicks and short tears to upper edge, spine sunned, still a very good example overall, 1964; Smith of Wootton Major, illustrations by Pauline Baynes, original pictorial boards, light rubbing at edges, spine sunned, 1967, first editions, 8vo (2)
NO RESERVE Thomson (Virgil) American Music Since 1910, signed presentation inscription from the author to Ira Gershwin on front free endpaper, 1971; The Musical Scene, Ira Gershwin's copy with his bookplate to pastedown, 1945, first editions, original boards, dust-jackets, spine a little toned, light creasing to extremities, otherwise excellent copies, 4to (2)
Golding (William) Free Fall, proof copy, Sir Geoffrey Faber's copy with his ownership inscription to upper wrapper, upper wrapper reinforced with tape to hinge, spine chipped and browned, 1959; Rights of Passage, proof copy, original wrappers, browned, title in biro on spine, 1980; To the Ends of the Earth, one of 400 copies signed by the author, original cloth-backed boards, 1991; The Pyramid, first edition, original cloth, dust-jacket, price-clipped, lightly mottled, light creasing to extremities, near-fine overall, 1967; Free Fall, first edition, original boards, dust-jacket, price-clipped, light chips to spine ends, 1959; and 19 others by the same, including A Golding Bibliography by Gekoski and Grogan, one of 100 copies signed by Golding, 8vo (27)
Norman (Frank) Barney Snip Artist, first edition, signed presentation inscription from the author "For Victor Lownes: I feel that I should dig a shole and crawl into it. I honestly wouldn't blame me if you crossed me off your list for life. But before you do I have decided to give you a house. It is the least I can do having fouled up!!" to endpaper, original boards, dust-jacket, light browning to spine, small chip to head of spine, light rubbing to extremities, 8vo, 1968.⁂ A charming association copy, inscribed to the Playboy executive Lownes. Below the inscription Norman has drawn plan for a near-surrealist house consisting solely of a front door, five bedrooms and a small side-room marked with an infinity loop.
Hemingway (Ernest) For Whom the Bell Tolls, first English edition, endpapers browned, cloth ends a little bumped, jacket creased and rubbed at ends, portions of loss to upper panel corner and spine head, lower panel toned and creased, 1941; Across the River and into the Trees, first American edition, first printing with the Scribner's "A" and seal on copyright page, endpapers stained, jacket with tears across panels and edges, some light repairs with tape verso, one or two nicks to corners and upper edges, New York, 1950; The Old Man and the Sea, first English edition, jacket spine faded, some nicks to extremities, otherwise excellent, 1952; A Moveable Feast, small ink ownership inscription to front free endpaper, dust-jacket a little chipped at extremities, otherwise excellent, 1964, first or first English editions, original cloth, dust-jackets; and c.35 others, by or relating to Hemingway, including some early editions of other notable works, v.s. (c.40)
Boileau (Pierre) and Thomas Narcejac. The Living and the Dead, first English edition, one or two light patches of foxing to first few pages, some light toning to endpapers, original cloth, dust-jacket, price-clipped but with new price sticker at 7/9, spine faded, light creasing and nicks to edges, chipping to extremities, lacking portion of spine head, 8vo, 1956.⁂ The authors' classic third novel, the basis for Hitchcock's Vertigo.
NO RESERVE Sharpe (Tom) Riotous Assembly, 1971; Indecent Exposure, 1973; Porterhouse Blue, 1974; Blott on the Landscape, 1975; Wilt, 1976; The Throw Back, 1978, first editions, original boards, dust-jackets, light creasing to spine ends, otherwise fine copies; and 5 others by the same, 8vo (11)
Le Carré (John) The Spy Who Came in from the Cold, first edition, original boards, spine lightly faded, ends a little bumped, dust-jacket, very light creasing to spine ends and corners, one or two light marks to lower panel, otherwise a near-fine copy, 8vo, 1963.⁂ Unusually unfaded spine, making this a remarkably bright and crisp copy.
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