167
§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963)
1/3
Description
JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963)
BOY IN BLUE JERSEY
Oil on board
36.5cm x 16cm (14.25in x 6.25in)
Exhibited: The Scottish Gallery, Edinburgh, Christmas Exhibition, 1967, no.50
Joan Eardley’s exceptional skills of observation, technique and affinity with both people and nature is clear in the selection of paintings and works on paper presented here. They reveal how she worked sensitively and spontaneously from the city to the countryside and include examples of her celebrated portrayals of the Townhead district of Glasgow and of the fishing village of Catterline on Scotland’s north-east coast.Eardley maintained a studio at 204 St James Road in Townhead from 1952 until her premature death in 1963. She became a regular sight in its somewhat rundown streets, sketching buildings, people and scenes of daily life in chalk and pastel, which she then worked up into paintings in the studio. She was drawn to the neighbourhood’s vibrancy and close-knit community and soon established a rapport with the local children, some of whom she would pay a modest fee for sitting for her. Quickly executed pastels, such as Little Girl, Girl in Striped Jersey and The Striped Skirt illustrate Eardley’s unsentimental approach to her young subjects. They are caught in unselfconscious poses and with natural facial expressions, with particular emphasis paid to the colour and pattern of their clothing. Eardley’s mixed use of pastel, from confident outline to curling gesture and smudged fields of contrasting tones, gives a sense of the energy and moment of the creative process which celebrates but does not sugarcoat childhood.In paintings including Boy in Blue Jersey and Boys Playing Cards a deeper, more contemplative atmosphere is suggested. In the former, the young model is portrayed in a moment of thought, hands clasped together and head tilted to look at something beyond the viewer’s sight. In Boys Playing Cards an air of concentration is focussed on the boy seen in profile, perhaps as he plans his next move, rather than presenting the whole game and all its participants. In 1952, Eardley visited Catterline for the first time. It became a new stimulus where she could depict the immensities of nature in the open air, painting and sketching ‘on the spot’ in all seasons and weathers. She bought a cottage there in 1955 and thereafter divided her time between the village and Glasgow. Eardley immersed herself into the community and its way of life. The activities of its working harbour provided rich subject matter, as seen in Salmon Fishing Nets – Study. As Patrick Elliott has explained: ‘…the salmon-fishing season on Scotland’s east coast lasted from 16 February until 31 August…in order to conserve stocks, the fishermen were required by law to remove the long nets by noon on the Saturday and were not permitted to replace them before 6am on the following Monday. The long nets were cleaned and dried on the stony beach on the Saturday afternoon….the nets were hung up on the Makin Green, a rough grassy patch near the salmon bothy, on giant larch poles five or six metres tall.’ (Patrick Elliott, Joan Eardley: Land & Sea – A Life in Catterline, National Galleries of Scotland, Edinburgh, 2021, pp.107 & 111). Executed in pastel, Eardley joined three sheets of support in order to complete the current composition.In Stacks and Setting Sun I Eardley turned her eye to the surrounding fields to capture the fruition of the farming year as the day drew to a close. This time executed in oil on board, her expressive technique verges on abstraction, albeit anchored with figurative elements such as the fencing at the lower left. Eardley’s powerful response to the quickly changing scene before her is clear in the energetic brushstrokes and depiction of the fading, warm tones of sunlight.Whether working in the city or in the countryside, Eardley position as one of Britain’s leading twentieth-century artists is assured.
BOY IN BLUE JERSEY
Oil on board
36.5cm x 16cm (14.25in x 6.25in)
Exhibited: The Scottish Gallery, Edinburgh, Christmas Exhibition, 1967, no.50
Joan Eardley’s exceptional skills of observation, technique and affinity with both people and nature is clear in the selection of paintings and works on paper presented here. They reveal how she worked sensitively and spontaneously from the city to the countryside and include examples of her celebrated portrayals of the Townhead district of Glasgow and of the fishing village of Catterline on Scotland’s north-east coast.Eardley maintained a studio at 204 St James Road in Townhead from 1952 until her premature death in 1963. She became a regular sight in its somewhat rundown streets, sketching buildings, people and scenes of daily life in chalk and pastel, which she then worked up into paintings in the studio. She was drawn to the neighbourhood’s vibrancy and close-knit community and soon established a rapport with the local children, some of whom she would pay a modest fee for sitting for her. Quickly executed pastels, such as Little Girl, Girl in Striped Jersey and The Striped Skirt illustrate Eardley’s unsentimental approach to her young subjects. They are caught in unselfconscious poses and with natural facial expressions, with particular emphasis paid to the colour and pattern of their clothing. Eardley’s mixed use of pastel, from confident outline to curling gesture and smudged fields of contrasting tones, gives a sense of the energy and moment of the creative process which celebrates but does not sugarcoat childhood.In paintings including Boy in Blue Jersey and Boys Playing Cards a deeper, more contemplative atmosphere is suggested. In the former, the young model is portrayed in a moment of thought, hands clasped together and head tilted to look at something beyond the viewer’s sight. In Boys Playing Cards an air of concentration is focussed on the boy seen in profile, perhaps as he plans his next move, rather than presenting the whole game and all its participants. In 1952, Eardley visited Catterline for the first time. It became a new stimulus where she could depict the immensities of nature in the open air, painting and sketching ‘on the spot’ in all seasons and weathers. She bought a cottage there in 1955 and thereafter divided her time between the village and Glasgow. Eardley immersed herself into the community and its way of life. The activities of its working harbour provided rich subject matter, as seen in Salmon Fishing Nets – Study. As Patrick Elliott has explained: ‘…the salmon-fishing season on Scotland’s east coast lasted from 16 February until 31 August…in order to conserve stocks, the fishermen were required by law to remove the long nets by noon on the Saturday and were not permitted to replace them before 6am on the following Monday. The long nets were cleaned and dried on the stony beach on the Saturday afternoon….the nets were hung up on the Makin Green, a rough grassy patch near the salmon bothy, on giant larch poles five or six metres tall.’ (Patrick Elliott, Joan Eardley: Land & Sea – A Life in Catterline, National Galleries of Scotland, Edinburgh, 2021, pp.107 & 111). Executed in pastel, Eardley joined three sheets of support in order to complete the current composition.In Stacks and Setting Sun I Eardley turned her eye to the surrounding fields to capture the fruition of the farming year as the day drew to a close. This time executed in oil on board, her expressive technique verges on abstraction, albeit anchored with figurative elements such as the fencing at the lower left. Eardley’s powerful response to the quickly changing scene before her is clear in the energetic brushstrokes and depiction of the fading, warm tones of sunlight.Whether working in the city or in the countryside, Eardley position as one of Britain’s leading twentieth-century artists is assured.
Auction Details
Shipping
T&Cs & Important Info
Ask seller a question
JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963)
BOY IN BLUE JERSEY
Oil on board
36.5cm x 16cm (14.25in x 6.25in)
Exhibited: The Scottish Gallery, Edinburgh, Christmas Exhibition, 1967, no.50
Joan Eardley’s exceptional skills of observation, technique and affinity with both people and nature is clear in the selection of paintings and works on paper presented here. They reveal how she worked sensitively and spontaneously from the city to the countryside and include examples of her celebrated portrayals of the Townhead district of Glasgow and of the fishing village of Catterline on Scotland’s north-east coast.Eardley maintained a studio at 204 St James Road in Townhead from 1952 until her premature death in 1963. She became a regular sight in its somewhat rundown streets, sketching buildings, people and scenes of daily life in chalk and pastel, which she then worked up into paintings in the studio. She was drawn to the neighbourhood’s vibrancy and close-knit community and soon established a rapport with the local children, some of whom she would pay a modest fee for sitting for her. Quickly executed pastels, such as Little Girl, Girl in Striped Jersey and The Striped Skirt illustrate Eardley’s unsentimental approach to her young subjects. They are caught in unselfconscious poses and with natural facial expressions, with particular emphasis paid to the colour and pattern of their clothing. Eardley’s mixed use of pastel, from confident outline to curling gesture and smudged fields of contrasting tones, gives a sense of the energy and moment of the creative process which celebrates but does not sugarcoat childhood.In paintings including Boy in Blue Jersey and Boys Playing Cards a deeper, more contemplative atmosphere is suggested. In the former, the young model is portrayed in a moment of thought, hands clasped together and head tilted to look at something beyond the viewer’s sight. In Boys Playing Cards an air of concentration is focussed on the boy seen in profile, perhaps as he plans his next move, rather than presenting the whole game and all its participants. In 1952, Eardley visited Catterline for the first time. It became a new stimulus where she could depict the immensities of nature in the open air, painting and sketching ‘on the spot’ in all seasons and weathers. She bought a cottage there in 1955 and thereafter divided her time between the village and Glasgow. Eardley immersed herself into the community and its way of life. The activities of its working harbour provided rich subject matter, as seen in Salmon Fishing Nets – Study. As Patrick Elliott has explained: ‘…the salmon-fishing season on Scotland’s east coast lasted from 16 February until 31 August…in order to conserve stocks, the fishermen were required by law to remove the long nets by noon on the Saturday and were not permitted to replace them before 6am on the following Monday. The long nets were cleaned and dried on the stony beach on the Saturday afternoon….the nets were hung up on the Makin Green, a rough grassy patch near the salmon bothy, on giant larch poles five or six metres tall.’ (Patrick Elliott, Joan Eardley: Land & Sea – A Life in Catterline, National Galleries of Scotland, Edinburgh, 2021, pp.107 & 111). Executed in pastel, Eardley joined three sheets of support in order to complete the current composition.In Stacks and Setting Sun I Eardley turned her eye to the surrounding fields to capture the fruition of the farming year as the day drew to a close. This time executed in oil on board, her expressive technique verges on abstraction, albeit anchored with figurative elements such as the fencing at the lower left. Eardley’s powerful response to the quickly changing scene before her is clear in the energetic brushstrokes and depiction of the fading, warm tones of sunlight.Whether working in the city or in the countryside, Eardley position as one of Britain’s leading twentieth-century artists is assured.
BOY IN BLUE JERSEY
Oil on board
36.5cm x 16cm (14.25in x 6.25in)
Exhibited: The Scottish Gallery, Edinburgh, Christmas Exhibition, 1967, no.50
Joan Eardley’s exceptional skills of observation, technique and affinity with both people and nature is clear in the selection of paintings and works on paper presented here. They reveal how she worked sensitively and spontaneously from the city to the countryside and include examples of her celebrated portrayals of the Townhead district of Glasgow and of the fishing village of Catterline on Scotland’s north-east coast.Eardley maintained a studio at 204 St James Road in Townhead from 1952 until her premature death in 1963. She became a regular sight in its somewhat rundown streets, sketching buildings, people and scenes of daily life in chalk and pastel, which she then worked up into paintings in the studio. She was drawn to the neighbourhood’s vibrancy and close-knit community and soon established a rapport with the local children, some of whom she would pay a modest fee for sitting for her. Quickly executed pastels, such as Little Girl, Girl in Striped Jersey and The Striped Skirt illustrate Eardley’s unsentimental approach to her young subjects. They are caught in unselfconscious poses and with natural facial expressions, with particular emphasis paid to the colour and pattern of their clothing. Eardley’s mixed use of pastel, from confident outline to curling gesture and smudged fields of contrasting tones, gives a sense of the energy and moment of the creative process which celebrates but does not sugarcoat childhood.In paintings including Boy in Blue Jersey and Boys Playing Cards a deeper, more contemplative atmosphere is suggested. In the former, the young model is portrayed in a moment of thought, hands clasped together and head tilted to look at something beyond the viewer’s sight. In Boys Playing Cards an air of concentration is focussed on the boy seen in profile, perhaps as he plans his next move, rather than presenting the whole game and all its participants. In 1952, Eardley visited Catterline for the first time. It became a new stimulus where she could depict the immensities of nature in the open air, painting and sketching ‘on the spot’ in all seasons and weathers. She bought a cottage there in 1955 and thereafter divided her time between the village and Glasgow. Eardley immersed herself into the community and its way of life. The activities of its working harbour provided rich subject matter, as seen in Salmon Fishing Nets – Study. As Patrick Elliott has explained: ‘…the salmon-fishing season on Scotland’s east coast lasted from 16 February until 31 August…in order to conserve stocks, the fishermen were required by law to remove the long nets by noon on the Saturday and were not permitted to replace them before 6am on the following Monday. The long nets were cleaned and dried on the stony beach on the Saturday afternoon….the nets were hung up on the Makin Green, a rough grassy patch near the salmon bothy, on giant larch poles five or six metres tall.’ (Patrick Elliott, Joan Eardley: Land & Sea – A Life in Catterline, National Galleries of Scotland, Edinburgh, 2021, pp.107 & 111). Executed in pastel, Eardley joined three sheets of support in order to complete the current composition.In Stacks and Setting Sun I Eardley turned her eye to the surrounding fields to capture the fruition of the farming year as the day drew to a close. This time executed in oil on board, her expressive technique verges on abstraction, albeit anchored with figurative elements such as the fencing at the lower left. Eardley’s powerful response to the quickly changing scene before her is clear in the energetic brushstrokes and depiction of the fading, warm tones of sunlight.Whether working in the city or in the countryside, Eardley position as one of Britain’s leading twentieth-century artists is assured.
Scottish Paintings & Sculpture
Sale Date(s)
Lots: 1-102
Lots: 103-196
Venue Address
33 Broughton Place
Edinburgh
EH1 3RR
United Kingdom
All collections are by appointment only (this applies to both carriers and personal collections).
To book or for more information contact info@lyonandturnbull.com or telephone 0131 557 8844.
-----
UK & International - Smaller items and paintings
Art & Antique Delivery Centre
Mail Boxes Etc.
12 South Bridge
Edinburgh, EH1 1DD
T: 0131 556 6226
info@mbeedinburgh.com
Mailboxes Etc
8 Shepherd Market
Mayfair
London, W1J 7JY
Tel: 0207 491 0022
info@mbemayfair.co.uk
Mailboxes Etc
61 Praed Street
London, W2 1NS
Tel: 0207 706 3666
info@mbepaddington.co.uk
Pack & Send Edinburgh East
53 Elm Row
Leith Walk
Edinburgh, EH7 4AH
Tel: 0131 201 2244
edinburgheast@packsend.co.uk
www.packsend.co.uk/edinburgheast
UK - Larger Items
Aardvark Art Services Ltd
Tel: 01253 794 673
info@aardvarkartservices.com
John McVey Distribution Storage & Transport (UK & Ireland)
175 Waddell Street
Drumchapel
Glasgow
G5 0NA
+44(0)141 429 2015
UK & International - Larger Items
Stephen Morris Shipping
Unit 15, Ockham Drive
Greenford, Middlesex
UB6 0FD
+44(0)20 8832 2222
hannah@shipsms.co.uk
Crown Fine Art
Art Central, Union Court
20-22 Union Road
London, SW4 6JP
+44 (0)20 7732 7610
auctionteam.uk@crownww.com
Constantine Moving Services (Specialists in UK & International Shipping)
Constantine House
North Caldeen Road
Coatbridge, ML5 4EF
Tel: 01236 430 681
allanak@constantinemoving.com
A Van Man Transport
Unit 5, Benridge Park
Holyrood Close, Creekmoor
Poole, Dorset, BH17 7BD
Tel: 01202 600 012
office@avmt.co.uk
Gallery Support Group
Unit 4, 89 Manor Farm Road
Wembley
London, HA0 1BA
Tel: 020 305 307 53
info@gallerysupportgroup.com
Important Information
A £6,500 spend limit has been applied to this auction. Bidders intending on spending above this amount will need to provide photo identification to have the spend limit removed. To help manage this, you will be asked to confirm your projected spend as part of the auction registration process. You may receive a request to provide photo ID. We ask that you provide this at your earliest convenience on request, to ensure you are free to bid above the £6,500 spend limit on sale day . Please note it is Lyon and Turnbull’s discretion to ask for identification – you will be also asked to provide this if you have no bidding history.
------
BUYER'S PREMIUM
The buyer shall pay the hammer price together with a premium, at the following rate, thereon.26% up to £20,00025% from £20,001 to £500,00020% thereafterVAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale at the back of this catalogue).
ADDITIONAL VAT
† VAT at the standard rate payable on the hammer price‡ Reduced rate of 5% import VAT payable on the hammer price[Ω] Standard rate of import VAT on the hammer price
Lots affixed with ‡ or [Ω] symbols may be subject to further regulations upon export /import, please see Conditions of Sale for Buyers Section D.2.
No VAT is payable on the hammer price or premium for books bought at auction
REGISTRATION
All potential buyers must register prior to placing a bid. Paddle registration must be completed in advance of the sale day. Please note that all first-time, and those returning after an extended period, bidders at Lyon & Turnbull will be asked to supply the following documents in order to facilitate registration:1 – Government issued photo ID (Passport/Driving licence)2 – Proof of address (utility bill/bank statement).
By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale.
ARTIST’S RESALE ROYALTY (DROIT DE SUITE)
This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the Hammer Price and in addition to the Buyer’s Premium. It will not apply to works where the Hammer Price is less than £1,000. The charge for works of art sold at and above £1,000 and below £50,000 is 4%. For items selling above £50,000, charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the Auctioneer. Resale royalties are not subject to VAT. Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale. More information on Droit de Suite is available at www.dacs.org.uk.
REMOVAL OF PURCHASES
Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. See Collections & Storage section for more info specific to this particular auction.
CATALOGUE DESCRIPTIONS
All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. Our specialists will be happy to prepare condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.
IMPORT/EXPORT
Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rosewood, rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot.
ENDANGERED SPECIES
Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside Great Britain. For more information visit https://www.defra.gov.uk/ahvla-en/imports-exports/cites
Terms & Conditions
UK - Conditions Of Sale For Buyers
These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used.
Special terms may be used in Catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms, etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the Catalogue. These notices and terms will also form part of our terms and conditions of sales.
In these Conditions the words “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd, the singular includes the plural and vice versa as appropriate. “You”, “Your” means the Buyer.
Lyon & Turnbull Ltd. acts as agent for the Seller. On occasion where Lyon & Turnbull Ltd. own a lot in part or full the property will be identified in the catalogue with the symbol (
