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Lot 164
18TH CENTURY OAK CROSSBANDED 30-HOUR LONGCASE CLOCK, Humphrey Morgan, 10inch signed brass Roman and Arabic dial with silvered chapter ring, pierced brass spandrels, matt centre, square hood with cavetto cornice and blind fret frieze, four turned pillars, shaped crossbanded door, square base, 204cms high Condition: back board base damaged, top of boards with metal bracket repairs,pendulum arm broken,
Lot 166A
19TH CENTURY WELSH 8-DAY OAK LONGCASE CLOCK, Jno Evans, Newcastle Emlynn (sic), signed, painted 11 1/2in. dial with subsid. seconds dial and calendar aperture, swan neck pediment, and fluted columns to the break arch hood, shaped door and fluted canted angles, square base, 224cm high Condition: crack to base, painted dial flaking.
Lot 26
TWO REPRODUCTION CABINETS, comprising Queen Anne-style cocktail cabinet with mirror and glass fitted interior, 86 x 46 x 152cms and a Georgian-style low shallow bookcase, 152 x 31 x 86cms Condition Report: bookcase missing one moulding to right door, cocktail cab with minor scuffs and scratches.
Lot 55
STYLISH FRENCH WALNUT & BURR WALNUT ARMOIRE, arched cornice with turned finials, mirror-glazed door above two shoe drawers, turned feet, 98cms wide Condition: internal hanging depth 15in (38cm). crack to side, chip to veneer left side, mirror with minor blemishes, chip to fluted base and moulding.
Lot 57
FRENCH TRANSITIONAL-STYLE KINGWOOD & GILT METAL MOUNTED MARQUETRY VITRINE, bowed glass sides and door, base with three floral marquetry panels, saber front legs, 165cms high Condition Report: gilt metal mounts worn, marquetry veneers lifting in parts, side with shrinkage cracks, ebonized staining to feet which have minor chips.
Lot 66
PAIR AESTHETIC-STYLE POLLARD OAK BEDSIDE CABINETS, fitted frieze drawers and panelled doors, bronze handles and later white marble tops, 54 x 41 x 71cm (2) Condition: chip to plinth corner, one door warped, tops later.There is general wear to both, most of the marble corners are chipped.There are cracks on both drawers, one door is warped and will not close properly .There are some loose back panels on one and one piece is cracked on one side.
Lot 90
ARTS & CRAFTS OAK PART WARDROBE, possibly by Shapland & Petter or Liberty, the panelled oak door with hammered copper and glazed pottery ornament, copper alloy whiplash handle, the inside with 4 slides and 3 drawers with flush handles, 180 x 57cms Condition: door unattached, other door/s and cupboard side missing.Condition: The copper point, top corner next to the centre ruskin is starting to pull away from the wood. it does look like it could be tacked back down.There is light scratches and the pottery on the centre piece is starting to crack.
Lot 408
An early 20th century and later painted single wardrobe, with a drawer below, on a plinth base125w x 52d x 216h cmCondition report: Overall usable, door and drawer opens ok. Has been painted inside and out, so it is difficult to assess the timber, but looks like it might be pine underneath. Some cracks and wear to the painted finish. Lock is in place but no key. Is generally knocked and dirty, as wall collected from an outbuilding, where it was being stored.
Lot 437
19th century French boulle work mantel clock, brass chapter ring with Roman numerals, stamped by Freres, key and pendulum, 29cm high.CONDITION REPORT: The clock case is in good condition, the cornice has broken and reglued on the RHS of case. There is damage to the square plinth under the gilt finial LHS. Boulle work and gilt metal all good. Back door has a chip at the bolt.
Lot 439
19th century walnut cased bracket clock, enamelled arched dial by Thompson, London, 39 cm high excluding handle. CONDITION REPORT:The bracket clock is in fair condition. Black enamel on white dial, rubbing especially to chapter ring and the silence to arch. Damage to the VIII. Front door glass has been replaced. Some cracks to veneer lower frame of front door. Brass feet tarnished/discoloured. Cracks to veneers to the arch. Rear door has damage to frame, lock replaced, veneer damage and loss.
Lot 719
Japanese shodana cabinet, meiji period, circa 1880, very finely carved hardwood with a combination of cupboards with gold lacquer doors, open shelves and fitted drawers all decorated with birds and foliage, 163cm long, 45cm wide, 213cm high. CONDITION REPORT: The cabinet has some condition issues. There is signs of woodworm to different areas of the cabinet, in particular to the base, this has been treated. There is worm to some of the shelving. All the ornate carving is intact with no damage or missing pieces. The lacquer doors have missing ivory/bone and have a crude substitute. One cabinet lacquer door is missing. One small turned finial is missing. Area of exposed white wood LHS of base - woodworm damage?
Lot 722
1960s Danish rosewood three piece wall unit, centre piece with open shelves over a fall front above five fitted drawers, flanked either side by units with open shelves, above a pair of cupboard doors, 348cm long, 43cm wide, 196cm high. CONDITION REPORTS: The rosewood units are in very good condition with a small indentation to top surface of the cupboards, and a few minor surface scuff marks to lower doors and one score to the fall front door. Indentation on surface of bottom tier. Door light scuff mark, scuff marks to door.
Lot 161
§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) JAR OF SUMMER FLOWERS, 1963 Inscribed with the inventory number EE89, oil on canvas(76cm x 56cm (30in x 22in))Provenance: Mrs Patricia BlackFootnote: Exhibited: Arts Council of Gt Britain, Edinburgh, Joan Eardley Memorial Exhibition 1964, no.111 Talbot Rice Gallery, Edinburgh, Joan Eardley Retrospective 1988, no.136 Arts Council/South Bank Centre, London, Joan Eardley Exhibition 1988/89, no.136 Note: In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter.
Lot 162
§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) CHILDREN PLAYING IN THE STREET Charcoal and watercolour(17.5cm x 22.5cm (7in x 9in))Exhibited: The Scottish Gallery, Joan Eardley - Paintings and Drawings, 2007 Provenance: The Artist's Studio ED1414Footnote: Note: In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter.
Lot 163
§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) GIRL WITH STRIPED JERSEY Pastel on glass paper(26.5cm x 23cm (10.5in x 9in))Footnote: Exhibited: The Scottish Gallery, Edinburgh, Festival Exhibition 1964, no.71 Note: In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter.
Lot 164
§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) SEA, CATTERLINE Oil on board(18cm x 18cm (7in x 7in))Footnote: Exhibited: The Scottish Gallery, Christmas Exhibition 1967, no.48 Note: This painting is recorded in the Joan Eardley archive EE165 In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter.
Lot 165
§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) HAYSTOOKS Pen and ink and watercolour(23cm x 57cm (9in x 22.25in))Provenance: Artist's studio ED1267Footnote: Exhibited: The Scottish Gallery, Joan Eardley 1981, no.6 Note: In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter.
Lot 166
§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) THE OIL LAMP Oil on board(38cm x 20cm (15in x 8in))Provenance: Browse & Derby Ltd, LondonFootnote: Note: In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter.
Lot 167
§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) THISTLEDOWN CATTERLINE Oil on board(93cm x 82.5cm (36.5in x 32.5in))Provenance: The artist's family Cyril Gerber Fine Art, GlasgowFootnote: Note: With the Studio inventory No: EE308 In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter.
Lot 4068
A mid-Victorian lady's drawing-room friendship album, the property of and compiled by/& for Jenny Townsend [? of Attleborough House] from 2nd September 1862, gilt-illuminated and hand-scrivened vellum title-page: Album, within a Gothic architectural frame, eclectically illustrated and inscribed with a herbarium page with a pressed and dried marine botanical specimen, two b/w photographs of Attleborough From breakfast room and View from Hall door onto the garden with seated figures, photographic prints of European topography, well-executed watercolours and pencil drawings of still lives of flowers, portraits, topography, and typical genre subjects, a few earlier engravings, original verse, prose, and sentiments in ink MS, corresponding selections from literature, some sincere wishes of Townsend relations and friends, some stiff card leaves elaborately embossed as frames and enclosing tipped-in original art work (some in miniature) and parlour games & related ephemera, the majority of leaves colour paper, etc., contemporary blue roan gilt (rubbed), all-edges gilt, foliate endpapers, 4to, (1); another, probably the same owner as the last, partially-filled, including 3 herbarium leaves of dried and preserved botanical specimens, etc., finely bound in green morocco, each cover embossed with a scrolling foliate frame and enclosing gilt-blocked anthemions, within gilt dogtooth and fillet borders, gilt-lettered spine, all-edges gilt, foliate, endpapers, 4to, (1); another similar, Lilly Borton, 1853, with tipped-in printed and cut-card Christmas and greetings cards, contemporary leather, elaborately tolled in blind and gilt, 4to, (1), [3]
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