A late 19th-century fitted bodice-style blouse with peplum as seen worn by Elizabeth Taylor as Mary Skinner in the film Life with Father (Warner Brothers 1947). A silk-faille Victorian style fitted bodice/blouse designed for Elizabeth Taylor as Mary Skinner. The blouse in the film is a pale pastel blue, the material has turned a soft pink. The color discoloration is likely due to cleaning and storage at the film studio post-production. The original pale blue can be confirmed by the pale blue thread color that hasn’t changed and the silk-wool lining at the underside of the bustle (also pale blue). The blouse’s princess seams allow for a nice fit typical for that period’s style. The dropped Basque waist with exaggerated peplum was a key design element of the period, as well as a dramatic bustle at the back, pleated with inverted godets and a handkerchief hem. The blouse is trimmed with tulle, bobbin lace, silk ribbon (the ribbon has begun to disintegrate), and pale blue silk velvet. Hook-and-eye closures are at the front with a non-functioning button placket of cream grosgrain silk, which runs from the neck to above the hips. A label at the front closure reads, “Warner Brother’s Pictures Inc.” and handwritten in pen is “A 981-662.” Plus, handwritten at the interior neckline are studio initials WBS and a blue paper tag stapled at the right seam stamped with “WB” with a handwritten serial number “16619 SC.” Academy Award-winning costume designer Marjorie Best designed the costumes for the film, she also worked with Elizabeth Taylor on Giant. Victorian blouses featured numerous embellishments and trim as women’s fashions were a walking advertisement of a man’s wealth and status, ensembles consisting of silk, velvet, and lace showcased vogue fashions but also affluence.
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A collection of vintage late 20th century ladies blouses, used in theatrical performances and stage productions. The lot to include a number of white frilled Edwardian style blouses, a blue & green striped shirt, a green chiffon blouse, a mustard blouse and a black jacket with cherry decoration. Approx. 24 in lot, various sizes (generally around size L as befitting stage / pantomime performance).
A collection of vintage late 20th century theatrical costumes dresses. The lot to include numerous dresses, one in teal with glittered thread flowers, one in white with printed floral decoration, a mustard yellow felt blazer, a 1990s dress blouse in green and pink with pink sash belt. Approx. 20 in lot, various sizes (generally around size L as befitting stage / pantomime performance).
A collection of vintage mid – late 20th century Laura Ashley dresses, blouses and skirts. The lot to include a light blue sailor style day dress with wide white collar, a green button down day dress, a white layered blouse with undergarment, a brown patterned short sleeve day dress, a green / brown polyester chiffon effort wide skirt with black lace trim, and two day dresses in floral patterns. Approx. 7 in lot, various sizes.
A collection of nine vintage mid to late 20th century wedding style women’s dresses, used in performances and theatrical productions. The lot to include an Edwardian style blouse dress with bejewelled detail to the neck, a 1950s style satin dress with wide skirt, and a variety of white & cream dresses with lace detail. Approx. 9 in lot, various sizes.
A collection of vintage late 20th century theatrical ladies women costumes dresses. The lot to include an Edwardian style lace blouse dress, a white drop waist 1920s style strap dress, a toile pink & white ball gown dress, three forest green ball gowns, a cabaret style pink & black dress, & others. Approx. 12 in lot, various sizes (generally around size L as befitting stage / pantomime productions).
Vintage Fashion: Five vintage swimsuits/ bathing costume sets, c. 1950s/ 1960s, including: a Sears ‘Sea Stars’ patterned romper type swim dress, in bright floral patterned chiffon type fabric, labelled to interior; a black and white gingham two-piece bikini set, the briefs with zip fastening to back; a brightly floral patterned swim suit, in cotton, labelled to interior ‘Broadway, Made in Hong Kong’, with matching belt; a blue, white, red and green patterned swim suit, with shirred bodice, halter neck, together with a three piece Renjoy, Newman St, London three-piece beach outfit, comprising briefs, romper suit and sleeveless blouse in floral patterned cotton£80 – 120From the collection of Kelly Brook. Kelly Brook can be seen wearing a similar black and white gingham two-piece during Celebrity Love Island on 8th June 2005. Additionally, she can be seen wearing the Broadway, Hong Kong bathing suit during Celebrity Love Island aired 24th May 2005.
Vivienne Westwood: A collection of six pieces of Vivienne Westwood Red Label clothing, circa 2000s, including: a ruched boned short sleeved top, in fawn coloured cotton fabric, zip fastening to back, size 42; a white cotton blouse, size II; a striped cotton blouse, size I; a checked cotton blouse, size I; a floral blouse, size I; a pair of grey heavy cotton trousers, with turn ups, size 42 (6)
Vivienne Westwood: A collection of five pieces of Vivienne Westwood Anglomania clothing, circa 2000s, including: a cotton blouse, in striped fabric with capped sleeves, size 42; a white cotton cap sleeved blouse, size 40; a floral patterned sleeveless blouse, in black and white cotton, size 42; a white Broderie Anglaise sleeveless blouse, size 42; a pair of black jeans, with brass stud detail, size 27, together with a Biba pussy bow blouse, in gold lame type fabric (6)
Christian Lacroix red damask table cloth, women's L. T. Avernier floral cotton robe, Marjolaine black and silver robe, two unworn kaftan style robes in printed cotton by Pratesi one with tag retail £209 size L. A pair of gold silk pyjamas, unworn. Stewart Parvin blue floral silk blouse, unworn.
TWO BRITISH BATTLEDRESS BLOUSE JACKETS, the first is a 1949 pattern blouse with a date of 1951 on the inside label, size 11, a WW2 medal ribbon bar on the front, it also has Royal Engineers shoulder titles and was worn by a Major, the second jacket appears to be from the 1950's but all labels and insignia have been removed, Customers must satisfy themselves prior to sale in regards to conditions and authenticity, viewing is advised, condition reports are available on request
A hand painted earthenware figural covered jug of Judy from 'Punch and Judy'. Dressed in a yellow blouse, red skirt, and a white apron. Issued: c. 1870Dimensions: 5.5"L x 6.5"W x 11.25"HManufacturer: Staffordshire PotteryCountry of Origin: EnglandProvenance: Collection of Edward Flower Condition: Age related wear.
Dame Laura KNIGHT (1877-1970) Portrait of Fryn Tennyson Jesse Oil on canvas, signed, 61 x 51cm (frame size 82 x 72cm)A captivating, early portrait by Dame Laura Knight. Although undated, the low pompadour hairstyle, blouse and black ribbon at the neck, would all indicate a date of circa 1910.The sitter has been the subject of much speculation and the previous owner of this work spent considerable time researching the identity of this fair-cheeked young lady with the soulful eyes, satisfying himself and Cornish art historians Austin Wormleighton, Melissa Hardie and Alison Bevan that it was very likely to be of the criminologist, journalist and author Fryn Tennyson Jesse (1888-1958).Tennyson Jesse, a great-niece of the poet Alfred, Lord Tennyson, arrived in Cornwall in 1907 and attended the Forbe's School of Painting in Newlyn. She lodged at Myrtle Cottage with Dod Procter (nee Shaw) and the other members of the 'Myrtage Set' and took an active part in the bohemian ways of Newlyn and Lamorna. Laura Knight described Fryn's 'slender graceful looks' and the journalist and writer Dame Rebecca West said she was 'one of the loveliest girls of her time'.She fitted in well in Cornwall, was intelligent and witty and it was here that she discovered her passion for the written word, encouraged by her great friend Elizabeth Forbes for whom she wrote a play. She also edited Forbes’ journal ‘The Paper Chase’. Prior to the war, she suffered a grisly and debilitating accident when she caught her hand in the propeller of a plane and subsequently underwent amputations and multiple surgeries. She travelled to New York where she had false fingers fitted. However, the lasting damage seems to have been that she became addicted to morphine, which she took to ease the pain during the months after the accident.Despite this, she continued to travel widely and excelled in her writing career; she was one of the first female war correspondents and became a prominent and prolific journalist, criminologist, playwright and novelist, who accomplished a great deal and was widely praised and celebrated in her lifetime.Fryn was a remarkable woman and this portrait of her is a rare and exciting discovery. This oil is in excellent restored condition. Under UV light a little filling of craquelure can be seen
An Armand Marseille bisque head doll in Icelandic 'Faldbuningur' costume, applied blonde wig, brown glass sleeping eyes, open mouth with teeth and painted face, the head marked 'AM Germany 370 6/0', over straw filled body and dressed in tail cap, blouse , waistcoat skirt and apron with black slip on shoes, 40cm high.
Early 20th Century European Regional Costume comprising a Norwegian Costume including a red wool waistcoat with attached belt, woven trims, bead decoration, a beaded bodice insert, a red felt cap with gilt metal trims, woven trim and floral bead motiffs, all three pieces are stamped Anna Jordal Odda Hardanger, traded 1900-1925,a Circa 1930s Slovakian Costume from Piestany comprising a black cotton double apron skirt with white embroidery and lace trim, floral silk mounted waistcoat, a white cotton long sleeved blouse with wide sleeves, drawstring cuffs and yellow and orange broderie anglaise to the sleeve and cuff, two embroidered caps, a yellow silk and lace trimmed neck frill, a wide floral woven ribbon for the waist and two smaller examples in yellow for the sleeves, and two cotton petticoats,and a later example from Kyjov Moravia including a red wool skirt embroidered with white flower heads, a red and white waistcoat with sequin and bead appliqué, a white cotton blouse with full sleeves drawstring cuffs and black embroidery, a white silk hat appliquéd with woven trims, floral beading, sequins and lace, similar blue ribbons to the waist and sleeves and two cotton undergarments,(one box)
Modern Ladies Costume comprising four items of Voyage including a long sleeved silk mix top with scooped neckline printed with seated monkeys in a jungle landscape, bright pink piping, bead appliqués (size M), Voyage Passion red silk loose fitting trousers with Chinese brocade style waistband, drawstring waist (size 12), mauve body-con one shoulder dress with sheer circular panels overall, printed with black and ochre designs, blue chambray full length long sleeve dress with shawl neckline, single button fastening, cuffs trimmed with ochre velvet,Prada black satin pleated skirt (size 44), D&G sheer long sleeved chiffon blouse in black and leaf print, pussy bow neck tie (size XS),Stella McCartney sheer strappy top with metallic print and gilt beads, Etro silk mini skirt (size 44), Phool navy beaded evening dress (size S), other items including Ghost, Soft Core, Antoni and Alison, Laura Ashley,pair of Gucci Gold Platform Heels with ankle straps (size 37.5),
Circa 1900 and Later Costume Accessories, comprising a black silk chiffon long sleeve blouse with multi-pleats, long sleeves, round neck, mounted with gold lace to the neck, front opening, waist and cuffs, black chiffon waistcoat with gold embroidery,black chiffon stole with gold painted decoration, black net panel appliquéd with nine graduated swallows in flight in black and grey beads, cream lace stole with floral embroidery, embroidered white cotton mat with gathered trim, white cotton stole,gold sequin and bead purse,(box)Black chiffon jacket - 40" chest, couple of thread pulls, stitches to the front opening.Black chiffon stole with gold circles - couple of tiny holes.Black chiffon with gold trim - small blue spot mark to the back and tiny hole. 38" bust.Swallows - couple of loose threads and bead losses.Lace - some slight snags and wear.
A large collection of white items, to include: Edwardian blouse, 1916/18; 1920s' nightdress; early Edwardian children's coat; small children's dress in broderie anglaise with pink ribbon threaded through, 1880/1900; a late Victorian small cotton broderie anglaise child's coat; crocheted bodice; children's cotton and voile dress 1900-1910; a broderie anglaise girl's dress 1914-16; cotton christening robes and underskirt; children's nightdress 1900s; knitted matinee coat, 1900s (moth damage to wool); and an early cotton vest, 1870/80. (Quantity)
A black satin late Edwardian dress with a high waist, scalloped edge, a crepe pleated collar, scalloped edge cuffs and covered buttons. A black embroidered Edwardian elongated collar decoration sewn onto black velvet and lace. A sleeveless fine wool dress insert (Edwardian) in the style of a blouse with satin pocket and satin ribbon decoration on the bodice (moth damage). A silk Edwardian blouse with lace inserts. A silk Edwardian dressing robe with floral decorative motifs. A mid 1950s playsuit top and matching shorts in a blue and white dot design (man-made fibre). A pair of grey woollen girls gaiters with button detail (early 1920s). 2 pairs of combinations, late Edwardian and early 1920s, finished with pearl buttons. A pair of late 1920s silk combinations, edged in duck egg blue ribbons and faggoting and finished in a bow design, the lower fronts are also decorated with 2 bows. A pair of peach satin 1930s knickers with a waistband. A chiffon modesty front in shocking pink, lime green, yellow and purple, 1930, with a frilled jabot down the front. A cotton linen embroidered bolero jacket, 1930. A green silk girl's dress with a white pattern, pink/peach Peter Pan collar and smocking in the same colours as the collar (numerous marks on the dress). (Large quantity)
Burberrys, Valentino and Louis Feraud-Mixed designer clothing comprising a 1990's Burberrys ladies navy leather skirt, UK size 10 together with a Nicole Fahri black silk blouse with original tags, UK size 10 and a pair of Versace Classic V2 grey branded trousers, 28" waist, a Valentino linen shift dress with matching belt and Valentino buckle (small stain to chest of dress), a Valentino woollen jacket in a black and white chevron pattern, UK size 8, a Valentino cream knee length skirt, UK size 8 and a 1980's Louis Feraud black box jacket with 5 faux pearl buttons and an un-named black skirt. Burberrys changed their brand name to Burberry in 1998. Location:Rail2
Mixed 1960's and later clothing to include a Saks Fifth Avenue cream and navy chevron patterned dress with matching sash belt, 38" chest x 47" long, a Fink Modell blue dress with black embroidered design to the front, 36" chest x 43" long, a Simon Ellis black blouse with cream satin collar and cuffs, UK size 16 and a pair of Norris Raymond black leather ladies trousers, 28" waist.
PINK; a white cotton slim fit stretch full length blouse with button front, a brown and beige striped cotton slip fit full length shirt, size UK 8, a Ralph Lauren white cotton slim fit shirt with ruffle front, size XS, and an Elegance black satin evening blouse with ruffled front and embellished with a diamante square stone to neck with collar and ruffled sleeves (4). Condition Report: All four shirts are in a good clean condition.
A late 19th / early 20th century black lace blouse, with high neck V-panelled front and all over lace body and sleeves Small area of pulling just below neck on one shoulderone cuff frayed with slit just above seams and one small holesecond cuff one small hole near side seamfew loose threads throughoutclean condition (has been recently worn for photoshoot)
A beige lace jacket/cardigan by David Emmanuel, with single button fastening, size 14, together with a red taffeta A-line skirt by Milmar, waist 29", length 32", and a white chiffon style blouse with embroidered collar and button placket and 3/4 sleeves with embroidered cuffs, (buttons missing), approx. 44" chest (3)
§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) BIRD OF PASSAGE Signed upper right, signed and titled to backboard verso, oil and collage on gessoDimensions:69cm x 86cm (27.25in x 33.75in)Provenance:Provenance: From the artist's estate.Note: Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.
§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) HOUSES ON THE FRONT, MILLPORT Signed lower right, mixed media Dimensions:54cm x 74.5cm (21.25in x 29.25in) Provenance:Provenance: From the artist's estate. Note: Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected:The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.
§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) DARK HILL, MILLPORT - 1955 Signed and dated lower right, mixed media Dimensions:54.5cm x 74.5cm (21.5in x 29.25in) Provenance:Provenance: From the artist's estate. Note: Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected:The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.
§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) FRUIT AND GARLIC - 1989 Signed lower right, signed, titled and dated verso, oil on canvas Dimensions:70cm x 90.5cm (27.5in x 35.75in) Provenance:Provenance: From the artist's estate. Note: Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected:The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.
§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) HEDGEROW GATHERINGS ON THE DRESSER Ink on paperDimensions:56cm x 43cm (22in x 17in)Provenance:Provenance: From the artist's estate.Note: Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.
§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) MORE PEARS Signed lower left, signed and titled verso, oil on boardDimensions:49.5cm x 59.5cm (19.5in x 23.5in)Provenance:Provenance: From the artist's estate.Note: Note: This work dates from c. 1990.Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.
§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) CADAQUES - 1953 Signed and dated lower right, titled and dated to backboard, pencil and watercolourDimensions:31.5cm x 42.5cm (12.5in x 16.75in)Provenance:Provenance: From the artist's estate.Note: Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.
§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) SQUARE AND CHURCH, FIESOLE Gouache with pastelDimensions:33cm x 57cm (13in x 22.5in)Provenance:Provenance: From the artist's estate.Note: Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.
§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) JUG AND MUG IN THE WINDOW - 1955 Signed and dated lower right, ink study on paper Dimensions:56.5cm x 44.5cm (22.25in x 17.5in) Provenance:Provenance: From the artist's estate. Note: Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected:The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.
§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) LITTLE TUSCAN CHURCH - 1956 Signed and dated lower left, signed and titled to backboard, gouache and chalkDimensions:49cm x 59cm (19.25in x 23.25in)Provenance:Provenance: From the artist's estate.Note: Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.
§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) FIGURE AND FLOWERS - 1963 Signed and dated lower left, signed, titled and dated verso, oil on canvasDimensions:75cm x 62cm (29.5in x 24.5in)Provenance:Provenance: From the artist's estate.Note: Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.
§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) PALAZZI, FLORENCE Signed lower right, gouache and watercolour Dimensions:38cm x 49.5cm (15in x 19.5in) Provenance:Provenance: From the artist's estate. Note: Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected:The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.
§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) IN PIAZZA DEL CARMINE - 1956 Signed and dated lower right, pencil and gouacheDimensions:36cm x 68cm (14.25in x 26.75in)Provenance:Provenance: From the artist's estate.Note: Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.
A group of militaria comprising a 1949 Pattern British Army Battledress Blouse, dated 1953 (Size 13 - 5'11 to 6'0, breast 38" to 39", waist 33 to 34"); with Royal Horse Guards shoulder title, GSM ribbon and 1 Corps Division patch; pair of 1949 Pattern Battledress trousers, size 13 (waist 33" to 34", seat 39 in" to 40"); an Artillery shell time and percussion fuse; Royal Welsh Fusiliers bugle; a further bugle and a British Army angled head torch
1970's/80's Mexicana pintucked and lace detail blouse with full-length sleeves trimmed with lace, a Liberty-style fabric 1970's maxi skirt, a silk top labelled 'Jim Thompson' in browns, greens and gold, a 1970's velvet maxi skirt with bold retro pattern in oranges, blacks and brown and a three-quarter length jacket, possibly made from a paisley shawl with buttons covered in matching fabric (worn) (5)
Three children's vintage swimsuits and a silk lace and embroidered small blouse, back button fastening, blue ribbon threaded through, pintucked, puff sleeves, a pair of child's 1960's jodhpurs labelled 'Caldene', various baby clothes, a pair of child's silk bloomers, two baby's caps and a mink short scarf (1 box)
Edwardian blouse with pintucks, lace and crocheted trimming, a small cotton cami with broderie anglais with blue ribbon threaded through, an Edwardian pinny, shaped, a cotton petticoat/nightdress with broderie anglais straps, two babygowns, one with a small amount of whitework on the bodice, the other with possible Ayrshire work on the bodice, a vintage petticoat with broderie anglais hem, a white embroidered laundry bag, a baby's pillowcase and an embroidered nightdress case
1980's sailor style cotton dress navy blue with a blue and white striped "hobble" skirt short sleeves blue and white insert to collar and bow labelled "Brimell" size 12, a Caroline Charles printed blouse and matching skirt, a Wolsey Lombardi black and gold lurex jacket with gold buttons collarless, a possibly matching pair of crepe black palazzo pants, a knitted jacket/cardigan designed exclusively by Bill Gibb for Womens Journal, single button fastening, a 1980's printed leather bomber jacket labelled "Leather Fashion Manufacturers Limited Jordon made in Israel" with crossover belted fastening cuffs padded shoulders and pleats to the shoulders and a full shawl collar, an oversized jumper back zip fastening quilted interior cream, mandarin collar with a big appliqued knitted sunflower embroidered to the front (8)
Edwardian white cotton blouse, embroidered with daisies, pleats to the side of the bodice, pin tucked sleeves, pin tucked back, hook and eye fastening at the back, another Edwardian blouse, broiderie anglaise, embroidered with daisies, three quarter length sleeves, pin tuck collars, button fastening to the back, pin tucked detail, peplum, champagne coloured silk blouse with lace edging and inserts, the cuffs have drawn thread detail, there is a little wear to this at the back of the collar, a white cotton blouse with broiderie anglaise trim, short sleeves, and a 1930's satin blouse, glass button and loop fastening, smocking to the shoulders, cap sleeves and ties at the waistband ( 5)
An Edwardian pinafore dress trimmed with embroidery anglaise, and tie fastening at the back, a Victorian nightgown embroidery anglaise full length sleeves, little satin rose sets and ribbon threaded through, another plain Victorian nightgown, an Edwardian white blouse pintucked with embroidery anglaise central border and mandarin collar, pintucked sleeves, pintucked diagonal at the back popper fastening, and a child's lawn cotton dress with banded hem and double band empire waist, button fastening at the back, lace inserts on the three quarter length sleeves (5)
A 1930'S possible page boys outfit with a SILK blouse shirt, smocked detail to the bodice and sleeves with frilled front and collar, elasticated waist with matching velvet short pants, a quilted 1920/30's blue jacket apricot coloured lining bell sleeves some rust marks, a Chinese style cotton dressing gown embroidered only on the back (4)
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