§ 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.
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§ 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.
§ WILLIAM SCOTT C.B.E., R.A. (BRITISH 1913-1989) BLUE STILL LIFE - 1975 Lithograph, signed, titled & dated in the stone, printed by Curwen Studio, published for PSA Supplies Division by Edition Alecto LtdDimensions:85cm x 66cm (33.5in x 26in)Provenance:Provenance: William Weston Gallery, London, where acquired by present owner, September 2013Note: Note: This work was commissioned by the Department of the Environment and issued internally within government departments.
§ 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.
JONAS WOOD (AMERICAN 1977-) LARGE SHELF STILL LIFE - 2017 Off-set lithograph, from the edition of unknown size, published for the 'Shio Kusaka Jonas Wood' exhibition at Voorlinden Museum & Gardens, Wassanaar, the Netherlands, 30 September 2017 - 7 January 2018Dimensions:the sheet 58.5cm x 58.5cm (23in x 23in), unframed
§ 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.
![Esther Ellerman [Ellen de Streuve, Esther de Sola] - Still Life of Flowers in a Vase, oil on canvas, signed with pseudonym an](https://cdn.globalauctionplatform.com/57ad8e3f-6d3f-45ea-ba11-b04900c71459/0c464ab8-e66a-4a4c-9c3e-b051009bb692/468x382.jpg)
Esther Ellerman [Ellen de Streuve, Esther de Sola] - Still Life of Flowers in a Vase, oil on canvas, signed with pseudonym and dated 1941, 49.5cm x 39.5cm, within a painted wood frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Spanish School - Still Life with Lobster and Fruit, and Still Life with Dead Game, a pair of late 20th/early 21st century oils on board, each 57cm x 65cm, both within ebonized frames.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
![Esther Ellerman [Ellen de Streuve, Esther de Sola] - Still Life Study of Tulips in a Vase, 20th century oil on metal, 70.5cm](https://cdn.globalauctionplatform.com/57ad8e3f-6d3f-45ea-ba11-b04900c71459/bfce1a99-5e79-458f-ae50-b04d00f6ec02/468x382.jpg)
Esther Ellerman [Ellen de Streuve, Esther de Sola] - Still Life Study of Tulips in a Vase, 20th century oil on metal, 70.5cm x 55cm, within a painted composition frame, mounted on wooden feet.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Catherine Mary Wood - 'Still Life with Grapes and Nuts', late 19th/early 20th century oil on canvas, signed recto, titled gallery label verso, 39.5cm x 49.5cm, within a gilt composition frame of wide section.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
![Esther Ellerman [Ellen de Streuve, Esther de Sola] - Still Life of Autumn Vegetables, oil on canvas, signed with pseudonym an](https://cdn.globalauctionplatform.com/57ad8e3f-6d3f-45ea-ba11-b04900c71459/eebfc8dc-8837-4455-866e-b04d00f6e894/468x382.jpg)
Esther Ellerman [Ellen de Streuve, Esther de Sola] - Still Life of Autumn Vegetables, oil on canvas, signed with pseudonym and dated 1937, 50cm x 60cm, within a painted wood frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
![Esther Ellerman [Ellen de Streuve, Esther de Sola] - Still Life of Roses, oil on canvas, signed with pseudonym and dated 1937](https://cdn.globalauctionplatform.com/57ad8e3f-6d3f-45ea-ba11-b04900c71459/4be69143-cb47-4846-8d47-b04d00f6e79c/468x382.jpg)
Esther Ellerman [Ellen de Streuve, Esther de Sola] - Still Life of Roses, oil on canvas, signed with pseudonym and dated 1937, 60cm x 49.5cm, within a painted wood frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
![Esther Ellerman [Ellen de Streuve, Esther de Sola] - Still Life with Water Jug and Fruit on a Tray, oil on canvas, signed and](https://cdn.globalauctionplatform.com/57ad8e3f-6d3f-45ea-ba11-b04900c71459/86058ea6-a19f-420c-989a-b04d00f6e6e6/468x382.jpg)
Esther Ellerman [Ellen de Streuve, Esther de Sola] - Still Life with Water Jug and Fruit on a Tray, oil on canvas, signed and dated 1935, 49.5cm x 59.5cm, within a painted wood frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
H VAN BERGEN oil on canvas - still life of fruit, 50 x 60cms, oils on canvas, a pair - still lives of fruit, 25 x 34.5cms and another oil on canvas - still life of fruit, 29 x 39.5cms, together with a colour engraving - 'The Vicar Going to Dinner with the Esquire', 24.5 x 35cms and three other engravings
WILLIAM WALLS (1860-1942) A collection of views of Cluny watercolour and pencil, mostly dating from 1932; four further landscape views by Walls, probably all Scotland; together with a still life study of shoes on a tabletop, a similar still life study of a doll and other toys; and a study of an artist painting two figures 'en plein air', all unframed (14)
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