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ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905)BULB PLANTING IN THE TUILERIES GARDENS, PARIS Signed with a monogram, pastel23.5cm x 32cm (9.25in x 12.5in)Note: Robert Brough's art is often overshadowed by the trauma and tragedy of his untimely death; after suffering horrific burns in a train collision outside of Sheffield. A great friend and protégé of Singer Sargent, the older artist rushed to be with his friend in his final days and following his death curated a memorial exhibition in celebration of the young artist's talent. Brough's life was cut short during a steep upward career trajectory; he was very much a rising art star, working alongside Sargent and having recently been made an associate of the Royal Scottish Academy.Brough displayed a talent for both art and music from a young age, and was greatly encouraged by the family's neighbour, the painter Sir George Reid. With this support Brough found an apprenticeship as a lithographer in Aberdeen and used his earnings to fund trainings at Gray's School of Art in the city, before applying to the R.S.A. Schools in Edinburgh in 1891. By the end of his first year, he had been awarded three prestigious prizes, thus beginning a notable career. Brough completed further training in Paris, enrolling at the Acadamie Julien in Paris with Scottish Colourist S.J. Peploe, before travelling on in search of Sisley at Moret-sur-Seine and then Gauguin at Pont Aven in Brittany. By 1894 he had returned to his native Aberdeen and his steady progress was being closely monitored by the local press, 'When only three-and-twenty years of age Mr. Brough created some sensation and scored an undoubted triumph with two pictures shown at the Grafton Exhibition of the Society of Portrait Painters. His reputation already extended far beyond the confines of his native land. He had important pictures in Munich, Moscow, and in other leading Continental Galleries' (1895 Aberdeen Daily Journal). Then by 1897, and the age of 25, he was in London working on society portraits alongside Sargent. A Scottish artist, with a particular European flair, Brough's modern French training combined with a range of influences and inspirations from Raeburn to Velazquez to create a sophisticated and flamboyant approach. Close engagement with the selection of offered works by this intriguing artist reveal his true talent and dexterity; his lightness of touch and sophistication across mediums particularly apparent. Rowing Boats by a Harbour Quay, Concarneau atmospherically evokes the Brittany coast and the quick, deft brushwork is handled with a charming lightness. An unfinished working sketch still visible verso reveals the artist's working practice. In Rowing Boats, and Figures on the Harbour Wall, Brittany, Brough beautifully balances the compositions and utilises the unique qualities of the differing mediums. Within the offered group a particular preoccupation with ripples and reflections is visible, elegantly captured by the artist in a variety of media, from directly applied waving lines of pastel pigment to a patterning of daubs of fluid watercolour. Overall it is his dexterity with pastel that is a true delight to witness, with his lightness of touch allowing him to delineate the patterning of architecture and greenery in South of Concarneau, the colourful, graphic topography rising elegantly out of the buff paper surface, and the sparseness of a Parisian winter in Bulb Planting in the Tuileries Gardens, Paris, the effortful gestures of the workers clear in their brief outlines and the elegance of the city visible in the grey and white distance. Brough's talent and approach was beautifully summarised by his friend and mentor, Sargent: '. . . the grace, the fluidity, the lightness of touch that are so delightful in Brough; that very rare quality of surface that seems to make the actual paint a precious substance.'

DERWENT WOOD (BRITISH 1871-1925)BUST PORTRAIT OF ROBERT BROUGH Signed, inscribed and dated 1904 in the cast, bronze23cm (9in) highNote: Robert Brough's art is often overshadowed by the trauma and tragedy of his untimely death; after suffering horrific burns in a train collision outside of Sheffield. A great friend and protégé of Singer Sargent, the older artist rushed to be with his friend in his final days and following his death curated a memorial exhibition in celebration of the young artist's talent. Brough's life was cut short during a steep upward career trajectory; he was very much a rising art star, working alongside Sargent and having recently been made an associate of the Royal Scottish Academy.Brough displayed a talent for both art and music from a young age, and was greatly encouraged by the family's neighbour, the painter Sir George Reid. With this support Brough found an apprenticeship as a lithographer in Aberdeen and used his earnings to fund trainings at Gray's School of Art in the city, before applying to the R.S.A. Schools in Edinburgh in 1891. By the end of his first year, he had been awarded three prestigious prizes, thus beginning a notable career. Brough completed further training in Paris, enrolling at the Acadamie Julien in Paris with Scottish Colourist S.J. Peploe, before travelling on in search of Sisley at Moret-sur-Seine and then Gauguin at Pont Aven in Brittany. By 1894 he had returned to his native Aberdeen and his steady progress was being closely monitored by the local press, 'When only three-and-twenty years of age Mr. Brough created some sensation and scored an undoubted triumph with two pictures shown at the Grafton Exhibition of the Society of Portrait Painters. His reputation already extended far beyond the confines of his native land. He had important pictures in Munich, Moscow, and in other leading Continental Galleries' (1895 Aberdeen Daily Journal). Then by 1897, and the age of 25, he was in London working on society portraits alongside Sargent. A Scottish artist, with a particular European flair, Brough's modern French training combined with a range of influences and inspirations from Raeburn to Velazquez to create a sophisticated and flamboyant approach. Close engagement with the selection of offered works by this intriguing artist reveal his true talent and dexterity; his lightness of touch and sophistication across mediums particularly apparent. Rowing Boats by a Harbour Quay, Concarneau atmospherically evokes the Brittany coast and the quick, deft brushwork is handled with a charming lightness. An unfinished working sketch still visible verso reveals the artist's working practice. In Rowing Boats, and Figures on the Harbour Wall, Brittany, Brough beautifully balances the compositions and utilises the unique qualities of the differing mediums. Within the offered group a particular preoccupation with ripples and reflections is visible, elegantly captured by the artist in a variety of media, from directly applied waving lines of pastel pigment to a patterning of daubs of fluid watercolour. Overall it is his dexterity with pastel that is a true delight to witness, with his lightness of touch allowing him to delineate the patterning of architecture and greenery in South of Concarneau, the colourful, graphic topography rising elegantly out of the buff paper surface, and the sparseness of a Parisian winter in Bulb Planting in the Tuileries Gardens, Paris, the effortful gestures of the workers clear in their brief outlines and the elegance of the city visible in the grey and white distance. Brough's talent and approach was beautifully summarised by his friend and mentor, Sargent: '. . . the grace, the fluidity, the lightness of touch that are so delightful in Brough; that very rare quality of surface that seems to make the actual paint a precious substance.'Provenance:This reduction bronze is believed to be unique and was specially commissioned by John Singer Sargent from Derwent Wood as a gift to Lady Maude Messell (1875-1960 ) in memory of the artist.By decent to Lord Anthony Armstrong Jones and consigned to benefit the National Trust acquisition of Nymans House.Neil Wilson, Campbell Wilson Fine ArtPrivate Collection, ScotlandThere are 3 known full size versions; National Gallery of Scotland, Aberdeen Art Gallery, and the third is believed to be in a private collection in the US.

[§] JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963)GLASGOW TENEMENT Oil on board19cm x 56cm (7.5in x 22in)Provenance:Aitken Dott & Son, EdinburghPrivate CollectionExhibited:Aitken Dott & Son, Edinburgh, Christmas Exhibition 1967, no.47 Note: Joan Eardley is recognised as one of the great talents of 20th century Scottish art, capturing the essence of some distinctly Scottish places; from the energy and community of a quickly disappearing urban way of life in the east end of Glasgow, to the drama and brutality of varying weather effects on the small fishing village of Catterline. Lyon & Turnbull are delighted to be offering a collection of fine works by this uniquely expressive, and enduringly popular artist within this auction. The works cover a range of Eardley's key techniques and talents and present a wonderful opportunity to engage with the strength and variety of her work, from bold, thickly applied oil paintings to charming and evocative pastels. The Tod Lighthouse, Catterline, offers a spectacular view of Eardley's beloved home on the north east coast of Scotland, just south of Aberdeen. The wide-angled view takes in the lighthouse to the right, and runs across the offing, below which Eardley's exuberant, expressive brushstrokes convey the tumultuous, crashing energy of the waves. The primal power of the sea is expressed, and we are drawn into the materiality of her paint, as we are drawn to the enduring eternal rhythms of the sea. A similarly vibrant, dynamic painterly approach is visible in A Harvest Landscape, Catterline, where Eardley turns her energetic brushwork and dripped paint inland to the rich, warm colour and texture of this abundant season. As an exciting extra, this work features a small, signed still-life study verso, in an unusually cheery pink palette.A further four of these artworks take us to the east end of Glasgow, Eardley's other home, and an area that greatly inspired her artistic work. Most famously she worked on a series of sketches of the local children, encouraging them to sit for her in exchange for sweets and comics. Predominantly worked in pastel, here we have an oil sketch of a girl in which the deft brushwork reveals the artist's talent as well as her enduring affection for her subject. In the other offered East End works, Eardley focuses on the structures inhabited by her sitters, boldly capturing the slanting lines and everyday details of this way of life in both pastel and oil. Eardley's colour choices enliven the details amongst the bold dark lines and sections of dense pigment in A Glasgow Tenement, delineating windows in citron and orange and lines of drying laundry in a pale blue-grey. The vibrant colour and energetic brushwork of Glasgow Tenement reveals the beauty Eardley found in this ordinary street, and the specific vitality she saw in the area. This was a way of life that was quickly disappearing, as we can see in Tenement from Wasteground, where the buildings rise beyond the abandoned area we view them from; the building we see will soon go the same way. The communities here live side by side with emptiness and dirt, and Eardley communicates these rough edges but also the joy and connection that she experiences there. In Pensive Young Man, Eardley captures an altogether quieter scene - a moment of internal reflection. Its peace and gentleness is reflected in her choice of perspective, looking over the shoulder of the subject, and the soft muted tones, which she handles with sophistication and ease. In all these works, a reverence and beauty arises out of an image that at first glance may seem messy or chaotic. In essence, this is Eardley's distinct skill in art; she was always led by the dynamism and essence of her subjects - the squinty, sloping lines of Glasgow streets and tenement walls, the awe-inspiring drama of the Catterline coast or an individual lost within their own thoughts - her techniques are selected under their influence. These disparate and often temperamental Scottish subjects are beautifully and sensitively captured so we are drawn in as she reveals the beauty and drama of the everyday across Scotland - from dramatic coastal weather, through the vibrancy of childhood to laundry and the ordinary business of living.

[§] JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963)TENEMENT FROM WASTEGROUND Pastel9cm x 12cm (3.5in x 4.75in)Note: Joan Eardley is recognised as one of the great talents of 20th century Scottish art, capturing the essence of some distinctly Scottish places; from the energy and community of a quickly disappearing urban way of life in the east end of Glasgow, to the drama and brutality of varying weather effects on the small fishing village of Catterline. Lyon & Turnbull are delighted to be offering a collection of fine works by this uniquely expressive, and enduringly popular artist within this auction. The works cover a range of Eardley's key techniques and talents and present a wonderful opportunity to engage with the strength and variety of her work, from bold, thickly applied oil paintings to charming and evocative pastels. The Tod Lighthouse, Catterline, offers a spectacular view of Eardley's beloved home on the north east coast of Scotland, just south of Aberdeen. The wide-angled view takes in the lighthouse to the right, and runs across the offing, below which Eardley's exuberant, expressive brushstrokes convey the tumultuous, crashing energy of the waves. The primal power of the sea is expressed, and we are drawn into the materiality of her paint, as we are drawn to the enduring eternal rhythms of the sea. A similarly vibrant, dynamic painterly approach is visible in A Harvest Landscape, Catterline, where Eardley turns her energetic brushwork and dripped paint inland to the rich, warm colour and texture of this abundant season. As an exciting extra, this work features a small, signed still-life study verso, in an unusually cheery pink palette.A further four of these artworks take us to the east end of Glasgow, Eardley's other home, and an area that greatly inspired her artistic work. Most famously she worked on a series of sketches of the local children, encouraging them to sit for her in exchange for sweets and comics. Predominantly worked in pastel, here we have an oil sketch of a girl in which the deft brushwork reveals the artist's talent as well as her enduring affection for her subject. In the other offered East End works, Eardley focuses on the structures inhabited by her sitters, boldly capturing the slanting lines and everyday details of this way of life in both pastel and oil. Eardley's colour choices enliven the details amongst the bold dark lines and sections of dense pigment in A Glasgow Tenement, delineating windows in citron and orange and lines of drying laundry in a pale blue-grey. The vibrant colour and energetic brushwork of Glasgow Tenement reveals the beauty Eardley found in this ordinary street, and the specific vitality she saw in the area. This was a way of life that was quickly disappearing, as we can see in Tenement from Wasteground, where the buildings rise beyond the abandoned area we view them from; the building we see will soon go the same way. The communities here live side by side with emptiness and dirt, and Eardley communicates these rough edges but also the joy and connection that she experiences there. In Pensive Young Man, Eardley captures an altogether quieter scene - a moment of internal reflection. Its peace and gentleness is reflected in her choice of perspective, looking over the shoulder of the subject, and the soft muted tones, which she handles with sophistication and ease. In all these works, a reverence and beauty arises out of an image that at first glance may seem messy or chaotic. In essence, this is Eardley's distinct skill in art; she was always led by the dynamism and essence of her subjects - the squinty, sloping lines of Glasgow streets and tenement walls, the awe-inspiring drama of the Catterline coast or an individual lost within their own thoughts - her techniques are selected under their influence. These disparate and often temperamental Scottish subjects are beautifully and sensitively captured so we are drawn in as she reveals the beauty and drama of the everyday across Scotland - from dramatic coastal weather, through the vibrancy of childhood to laundry and the ordinary business of living.

[§] JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963)A GLASGOW TENEMENT Pastel25cm x 20cm (9.75in x 8in)Note:This work was a gift to a previous owner's husband from Joan Eardley's mother on the occasion of his 50th wedding anniverary Joan Eardley is recognised as one of the great talents of 20th century Scottish art, capturing the essence of some distinctly Scottish places; from the energy and community of a quickly disappearing urban way of life in the east end of Glasgow, to the drama and brutality of varying weather effects on the small fishing village of Catterline. Lyon & Turnbull are delighted to be offering a collection of fine works by this uniquely expressive, and enduringly popular artist within this auction. The works cover a range of Eardley's key techniques and talents and present a wonderful opportunity to engage with the strength and variety of her work, from bold, thickly applied oil paintings to charming and evocative pastels. The Tod Lighthouse, Catterline, offers a spectacular view of Eardley's beloved home on the north east coast of Scotland, just south of Aberdeen. The wide-angled view takes in the lighthouse to the right, and runs across the offing, below which Eardley's exuberant, expressive brushstrokes convey the tumultuous, crashing energy of the waves. The primal power of the sea is expressed, and we are drawn into the materiality of her paint, as we are drawn to the enduring eternal rhythms of the sea. A similarly vibrant, dynamic painterly approach is visible in A Harvest Landscape, Catterline, where Eardley turns her energetic brushwork and dripped paint inland to the rich, warm colour and texture of this abundant season. As an exciting extra, this work features a small, signed still-life study verso, in an unusually cheery pink palette.A further four of these artworks take us to the east end of Glasgow, Eardley's other home, and an area that greatly inspired her artistic work. Most famously she worked on a series of sketches of the local children, encouraging them to sit for her in exchange for sweets and comics. Predominantly worked in pastel, here we have an oil sketch of a girl in which the deft brushwork reveals the artist's talent as well as her enduring affection for her subject. In the other offered East End works, Eardley focuses on the structures inhabited by her sitters, boldly capturing the slanting lines and everyday details of this way of life in both pastel and oil. Eardley's colour choices enliven the details amongst the bold dark lines and sections of dense pigment in A Glasgow Tenement, delineating windows in citron and orange and lines of drying laundry in a pale blue-grey. The vibrant colour and energetic brushwork of Glasgow Tenement reveals the beauty Eardley found in this ordinary street, and the specific vitality she saw in the area. This was a way of life that was quickly disappearing, as we can see in Tenement from Wasteground, where the buildings rise beyond the abandoned area we view them from; the building we see will soon go the same way. The communities here live side by side with emptiness and dirt, and Eardley communicates these rough edges but also the joy and connection that she experiences there. In Pensive Young Man, Eardley captures an altogether quieter scene - a moment of internal reflection. Its peace and gentleness is reflected in her choice of perspective, looking over the shoulder of the subject, and the soft muted tones, which she handles with sophistication and ease. In all these works, a reverence and beauty arises out of an image that at first glance may seem messy or chaotic. In essence, this is Eardley's distinct skill in art; she was always led by the dynamism and essence of her subjects - the squinty, sloping lines of Glasgow streets and tenement walls, the awe-inspiring drama of the Catterline coast or an individual lost within their own thoughts - her techniques are selected under their influence. These disparate and often temperamental Scottish subjects are beautifully and sensitively captured so we are drawn in as she reveals the beauty and drama of the everyday across Scotland - from dramatic coastal weather, through the vibrancy of childhood to laundry and the ordinary business of living.

JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963)A HARVEST LANDSCAPE, CATTERLINE Signed verso, oil on canvas30.5cm x 25.5cm (12in x 10in)Note: Joan Eardley is recognised as one of the great talents of 20th century Scottish art, capturing the essence of some distinctly Scottish places; from the energy and community of a quickly disappearing urban way of life in the east end of Glasgow, to the drama and brutality of varying weather effects on the small fishing village of Catterline. Lyon & Turnbull are delighted to be offering a collection of fine works by this uniquely expressive, and enduringly popular artist within this auction. The works cover a range of Eardley's key techniques and talents and present a wonderful opportunity to engage with the strength and variety of her work, from bold, thickly applied oil paintings to charming and evocative pastels. The Tod Lighthouse, Catterline, offers a spectacular view of Eardley's beloved home on the north east coast of Scotland, just south of Aberdeen. The wide-angled view takes in the lighthouse to the right, and runs across the offing, below which Eardley's exuberant, expressive brushstrokes convey the tumultuous, crashing energy of the waves. The primal power of the sea is expressed, and we are drawn into the materiality of her paint, as we are drawn to the enduring eternal rhythms of the sea. A similarly vibrant, dynamic painterly approach is visible in A Harvest Landscape, Catterline, where Eardley turns her energetic brushwork and dripped paint inland to the rich, warm colour and texture of this abundant season. As an exciting extra, this work features a small, signed still-life study verso, in an unusually cheery pink palette.A further four of these artworks take us to the east end of Glasgow, Eardley's other home, and an area that greatly inspired her artistic work. Most famously she worked on a series of sketches of the local children, encouraging them to sit for her in exchange for sweets and comics. Predominantly worked in pastel, here we have an oil sketch of a girl in which the deft brushwork reveals the artist's talent as well as her enduring affection for her subject. In the other offered East End works, Eardley focuses on the structures inhabited by her sitters, boldly capturing the slanting lines and everyday details of this way of life in both pastel and oil. Eardley's colour choices enliven the details amongst the bold dark lines and sections of dense pigment in A Glasgow Tenement, delineating windows in citron and orange and lines of drying laundry in a pale blue-grey. The vibrant colour and energetic brushwork of Glasgow Tenement reveals the beauty Eardley found in this ordinary street, and the specific vitality she saw in the area. This was a way of life that was quickly disappearing, as we can see in Tenement from Wasteground, where the buildings rise beyond the abandoned area we view them from; the building we see will soon go the same way. The communities here live side by side with emptiness and dirt, and Eardley communicates these rough edges but also the joy and connection that she experiences there. In Pensive Young Man, Eardley captures an altogether quieter scene - a moment of internal reflection. Its peace and gentleness is reflected in her choice of perspective, looking over the shoulder of the subject, and the soft muted tones, which she handles with sophistication and ease. In all these works, a reverence and beauty arises out of an image that at first glance may seem messy or chaotic. In essence, this is Eardley's distinct skill in art; she was always led by the dynamism and essence of her subjects - the squinty, sloping lines of Glasgow streets and tenement walls, the awe-inspiring drama of the Catterline coast or an individual lost within their own thoughts - her techniques are selected under their influence. These disparate and often temperamental Scottish subjects are beautifully and sensitively captured so we are drawn in as she reveals the beauty and drama of the everyday across Scotland - from dramatic coastal weather, through the vibrancy of childhood to laundry and the ordinary business of living.

[§] JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963)THE TOD LIGHTHOUSE, CATTERLINE Oil on board46cm x 76cm (18in x 30in)Exhibited:369 Gallery, Joan Eardley Exhibition, July 1989, no.2 Note: Joan Eardley is recognised as one of the great talents of 20th century Scottish art, capturing the essence of some distinctly Scottish places; from the energy and community of a quickly disappearing urban way of life in the east end of Glasgow, to the drama and brutality of varying weather effects on the small fishing village of Catterline. Lyon & Turnbull are delighted to be offering a collection of fine works by this uniquely expressive, and enduringly popular artist within this auction. The works cover a range of Eardley's key techniques and talents and present a wonderful opportunity to engage with the strength and variety of her work, from bold, thickly applied oil paintings to charming and evocative pastels. The Tod Lighthouse, Catterline, offers a spectacular view of Eardley's beloved home on the north east coast of Scotland, just south of Aberdeen. The wide-angled view takes in the lighthouse to the right, and runs across the offing, below which Eardley's exuberant, expressive brushstrokes convey the tumultuous, crashing energy of the waves. The primal power of the sea is expressed, and we are drawn into the materiality of her paint, as we are drawn to the enduring eternal rhythms of the sea. A similarly vibrant, dynamic painterly approach is visible in A Harvest Landscape, Catterline, where Eardley turns her energetic brushwork and dripped paint inland to the rich, warm colour and texture of this abundant season. As an exciting extra, this work features a small, signed still-life study verso, in an unusually cheery pink palette.A further four of these artworks take us to the east end of Glasgow, Eardley's other home, and an area that greatly inspired her artistic work. Most famously she worked on a series of sketches of the local children, encouraging them to sit for her in exchange for sweets and comics. Predominantly worked in pastel, here we have an oil sketch of a girl in which the deft brushwork reveals the artist's talent as well as her enduring affection for her subject. In the other offered East End works, Eardley focuses on the structures inhabited by her sitters, boldly capturing the slanting lines and everyday details of this way of life in both pastel and oil. Eardley's colour choices enliven the details amongst the bold dark lines and sections of dense pigment in A Glasgow Tenement, delineating windows in citron and orange and lines of drying laundry in a pale blue-grey. The vibrant colour and energetic brushwork of Glasgow Tenement reveals the beauty Eardley found in this ordinary street, and the specific vitality she saw in the area. This was a way of life that was quickly disappearing, as we can see in Tenement from Wasteground, where the buildings rise beyond the abandoned area we view them from; the building we see will soon go the same way. The communities here live side by side with emptiness and dirt, and Eardley communicates these rough edges but also the joy and connection that she experiences there. In Pensive Young Man, Eardley captures an altogether quieter scene - a moment of internal reflection. Its peace and gentleness is reflected in her choice of perspective, looking over the shoulder of the subject, and the soft muted tones, which she handles with sophistication and ease. In all these works, a reverence and beauty arises out of an image that at first glance may seem messy or chaotic. In essence, this is Eardley's distinct skill in art; she was always led by the dynamism and essence of her subjects - the squinty, sloping lines of Glasgow streets and tenement walls, the awe-inspiring drama of the Catterline coast or an individual lost within their own thoughts - her techniques are selected under their influence. These disparate and often temperamental Scottish subjects are beautifully and sensitively captured so we are drawn in as she reveals the beauty and drama of the everyday across Scotland - from dramatic coastal weather, through the vibrancy of childhood to laundry and the ordinary business of living.

[§] JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963)BREAKING WAVES CATTERLINE Oil on board, numbered EE164 verso23cm x 59cm (9in x 23.25in)Provenance:Cyril Gerber and thence by descent Note: Joan Eardley is recognised as one of the great talents of 20th century Scottish art, capturing the essence of some distinctly Scottish places; from the energy and community of a quickly disappearing urban way of life in the east end of Glasgow, to the drama and brutality of varying weather effects on the small fishing village of Catterline. Lyon & Turnbull are delighted to be offering a collection of fine works by this uniquely expressive, and enduringly popular artist within this auction. The works cover a range of Eardley's key techniques and talents and present a wonderful opportunity to engage with the strength and variety of her work, from bold, thickly applied oil paintings to charming and evocative pastels. The Tod Lighthouse, Catterline, offers a spectacular view of Eardley's beloved home on the north east coast of Scotland, just south of Aberdeen. The wide-angled view takes in the lighthouse to the right, and runs across the offing, below which Eardley's exuberant, expressive brushstrokes convey the tumultuous, crashing energy of the waves. The primal power of the sea is expressed, and we are drawn into the materiality of her paint, as we are drawn to the enduring eternal rhythms of the sea. A similarly vibrant, dynamic painterly approach is visible in A Harvest Landscape, Catterline, where Eardley turns her energetic brushwork and dripped paint inland to the rich, warm colour and texture of this abundant season. As an exciting extra, this work features a small, signed still-life study verso, in an unusually cheery pink palette.A further four of these artworks take us to the east end of Glasgow, Eardley's other home, and an area that greatly inspired her artistic work. Most famously she worked on a series of sketches of the local children, encouraging them to sit for her in exchange for sweets and comics. Predominantly worked in pastel, here we have an oil sketch of a girl in which the deft brushwork reveals the artist's talent as well as her enduring affection for her subject. In the other offered East End works, Eardley focuses on the structures inhabited by her sitters, boldly capturing the slanting lines and everyday details of this way of life in both pastel and oil. Eardley's colour choices enliven the details amongst the bold dark lines and sections of dense pigment in A Glasgow Tenement, delineating windows in citron and orange and lines of drying laundry in a pale blue-grey. The vibrant colour and energetic brushwork of Glasgow Tenement reveals the beauty Eardley found in this ordinary street, and the specific vitality she saw in the area. This was a way of life that was quickly disappearing, as we can see in Tenement from Wasteground, where the buildings rise beyond the abandoned area we view them from; the building we see will soon go the same way. The communities here live side by side with emptiness and dirt, and Eardley communicates these rough edges but also the joy and connection that she experiences there. In Pensive Young Man, Eardley captures an altogether quieter scene - a moment of internal reflection. Its peace and gentleness is reflected in her choice of perspective, looking over the shoulder of the subject, and the soft muted tones, which she handles with sophistication and ease. In all these works, a reverence and beauty arises out of an image that at first glance may seem messy or chaotic. In essence, this is Eardley's distinct skill in art; she was always led by the dynamism and essence of her subjects - the squinty, sloping lines of Glasgow streets and tenement walls, the awe-inspiring drama of the Catterline coast or an individual lost within their own thoughts - her techniques are selected under their influence. These disparate and often temperamental Scottish subjects are beautifully and sensitively captured so we are drawn in as she reveals the beauty and drama of the everyday across Scotland - from dramatic coastal weather, through the vibrancy of childhood to laundry and the ordinary business of living.

JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963)HEAD OF A GIRL Oil on board39cm x 31cm (15.25in x 12.25in)Provenance:This and two other paintings by Joan Eardley were acquired by the current vendor's husband when Eardley's flat was demolished. At that time the attribution to Eardley was confirmed by The Scottish Gallery and subsequent insurance valuations endorse this. Note: Joan Eardley is recognised as one of the great talents of 20th century Scottish art, capturing the essence of some distinctly Scottish places; from the energy and community of a quickly disappearing urban way of life in the east end of Glasgow, to the drama and brutality of varying weather effects on the small fishing village of Catterline. Lyon & Turnbull are delighted to be offering a collection of fine works by this uniquely expressive, and enduringly popular artist within this auction. The works cover a range of Eardley's key techniques and talents and present a wonderful opportunity to engage with the strength and variety of her work, from bold, thickly applied oil paintings to charming and evocative pastels. The Tod Lighthouse, Catterline, offers a spectacular view of Eardley's beloved home on the north east coast of Scotland, just south of Aberdeen. The wide-angled view takes in the lighthouse to the right, and runs across the offing, below which Eardley's exuberant, expressive brushstrokes convey the tumultuous, crashing energy of the waves. The primal power of the sea is expressed, and we are drawn into the materiality of her paint, as we are drawn to the enduring eternal rhythms of the sea. A similarly vibrant, dynamic painterly approach is visible in A Harvest Landscape, Catterline, where Eardley turns her energetic brushwork and dripped paint inland to the rich, warm colour and texture of this abundant season. As an exciting extra, this work features a small, signed still-life study verso, in an unusually cheery pink palette.A further four of these artworks take us to the east end of Glasgow, Eardley's other home, and an area that greatly inspired her artistic work. Most famously she worked on a series of sketches of the local children, encouraging them to sit for her in exchange for sweets and comics. Predominantly worked in pastel, here we have an oil sketch of a girl in which the deft brushwork reveals the artist's talent as well as her enduring affection for her subject. In the other offered East End works, Eardley focuses on the structures inhabited by her sitters, boldly capturing the slanting lines and everyday details of this way of life in both pastel and oil. Eardley's colour choices enliven the details amongst the bold dark lines and sections of dense pigment in A Glasgow Tenement, delineating windows in citron and orange and lines of drying laundry in a pale blue-grey. The vibrant colour and energetic brushwork of Glasgow Tenement reveals the beauty Eardley found in this ordinary street, and the specific vitality she saw in the area. This was a way of life that was quickly disappearing, as we can see in Tenement from Wasteground, where the buildings rise beyond the abandoned area we view them from; the building we see will soon go the same way. The communities here live side by side with emptiness and dirt, and Eardley communicates these rough edges but also the joy and connection that she experiences there. In Pensive Young Man, Eardley captures an altogether quieter scene - a moment of internal reflection. Its peace and gentleness is reflected in her choice of perspective, looking over the shoulder of the subject, and the soft muted tones, which she handles with sophistication and ease. In all these works, a reverence and beauty arises out of an image that at first glance may seem messy or chaotic. In essence, this is Eardley's distinct skill in art; she was always led by the dynamism and essence of her subjects - the squinty, sloping lines of Glasgow streets and tenement walls, the awe-inspiring drama of the Catterline coast or an individual lost within their own thoughts - her techniques are selected under their influence. These disparate and often temperamental Scottish subjects are beautifully and sensitively captured so we are drawn in as she reveals the beauty and drama of the everyday across Scotland - from dramatic coastal weather, through the vibrancy of childhood to laundry and the ordinary business of living.

[§] JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963)PENSIVE YOUNG MAN Pastel16cm x 13cm (6.25in x 5.25in)Provenance: Roland Browse and Delbanco, London Note: Joan Eardley is recognised as one of the great talents of 20th century Scottish art, capturing the essence of some distinctly Scottish places; from the energy and community of a quickly disappearing urban way of life in the east end of Glasgow, to the drama and brutality of varying weather effects on the small fishing village of Catterline. Lyon & Turnbull are delighted to be offering a collection of fine works by this uniquely expressive, and enduringly popular artist within this auction. The works cover a range of Eardley's key techniques and talents and present a wonderful opportunity to engage with the strength and variety of her work, from bold, thickly applied oil paintings to charming and evocative pastels. The Tod Lighthouse, Catterline, offers a spectacular view of Eardley's beloved home on the north east coast of Scotland, just south of Aberdeen. The wide-angled view takes in the lighthouse to the right, and runs across the offing, below which Eardley's exuberant, expressive brushstrokes convey the tumultuous, crashing energy of the waves. The primal power of the sea is expressed, and we are drawn into the materiality of her paint, as we are drawn to the enduring eternal rhythms of the sea. A similarly vibrant, dynamic painterly approach is visible in A Harvest Landscape, Catterline, where Eardley turns her energetic brushwork and dripped paint inland to the rich, warm colour and texture of this abundant season. As an exciting extra, this work features a small, signed still-life study verso, in an unusually cheery pink palette.A further four of these artworks take us to the east end of Glasgow, Eardley's other home, and an area that greatly inspired her artistic work. Most famously she worked on a series of sketches of the local children, encouraging them to sit for her in exchange for sweets and comics. Predominantly worked in pastel, here we have an oil sketch of a girl in which the deft brushwork reveals the artist's talent as well as her enduring affection for her subject. In the other offered East End works, Eardley focuses on the structures inhabited by her sitters, boldly capturing the slanting lines and everyday details of this way of life in both pastel and oil. Eardley's colour choices enliven the details amongst the bold dark lines and sections of dense pigment in A Glasgow Tenement, delineating windows in citron and orange and lines of drying laundry in a pale blue-grey. The vibrant colour and energetic brushwork of Glasgow Tenement reveals the beauty Eardley found in this ordinary street, and the specific vitality she saw in the area. This was a way of life that was quickly disappearing, as we can see in Tenement from Wasteground, where the buildings rise beyond the abandoned area we view them from; the building we see will soon go the same way. The communities here live side by side with emptiness and dirt, and Eardley communicates these rough edges but also the joy and connection that she experiences there. In Pensive Young Man, Eardley captures an altogether quieter scene - a moment of internal reflection. Its peace and gentleness is reflected in her choice of perspective, looking over the shoulder of the subject, and the soft muted tones, which she handles with sophistication and ease. In all these works, a reverence and beauty arises out of an image that at first glance may seem messy or chaotic. In essence, this is Eardley's distinct skill in art; she was always led by the dynamism and essence of her subjects - the squinty, sloping lines of Glasgow streets and tenement walls, the awe-inspiring drama of the Catterline coast or an individual lost within their own thoughts - her techniques are selected under their influence. These disparate and often temperamental Scottish subjects are beautifully and sensitively captured so we are drawn in as she reveals the beauty and drama of the everyday across Scotland - from dramatic coastal weather, through the vibrancy of childhood to laundry and the ordinary business of living.

JOSEF SUDEK 1896 - 1976: STILL LIFE WITH A SHELL 1961 Black and white photograph 115 x 162 mm Signed on back with a dedication to Rothmayer: Sudek 1961/ Sudek Translation of inscription on back:Dear Mr Rothmayer,So I found out it’s your birthday this weekso I wish you: health, good humor, zest for work, may yoube minimally annoyed and may you enjoy pretty chicks, but notas much as my brother does.19 (III) 61 Sincerely yours, Sudek

ALFRED ZOFF 1852 - 1927: BEACH WITH BOATS IN BELGIUM 1920s Oil on canvas 27 x 30 cm Signed lower right: "A. Zoff" This painting with a fishing boat and a figure on the beach is an example of the unique painting of Alfred Zoff, one of the leading figures of Austrian Mood Impressionism in the early 20th century. In 1869 Zoff took landscape painting classes at the State Drawing Academy in Graz. By 1880 he had decided on art as a career and was enrolled at the Academy of Fine Arts in Vienna, where he studied under Eduard Peithner von Lichtenfels. After his father's death in 1882, his mother moved to Klagenfurt and he would visit often to paint. It remained a favorite location for the rest of his life.He also made occasional trips to Italy and Belgium. He completed his studies in 1890 at the Academy of Fine Arts in Karlsruhe under Gustav Schönleber, who acquainted him the Barbizon School. After that, he lived in Munich and Krems an der Donau. From 1907, he was a Professor of landscape and still-life painting at the Academy in Graz. He received numerous awards, including a bronze medal at the Exposition Universelle (1900). Member of the Künstlerhaus Wien (from 1883) and the Hagenbund (from 1900).

VÁCLAV ŠPÁLA 1885 - 1946: THE BEROUNKA RIVER AND HILLS 1925 Oil on canvas 54 x 73 cm Signed lower left: "V Špála 25"; numbered on back: 116.C. As PhDr. Rea Michalová, PhD explains in her expert assessment, “The painting under assessment, The Berounka River and Hills, is an original, exceedingly typical, melodic landscape painting by Václav Špála, one of the foremost exponents of the Czech avant-garde movement and a member of the Group of Fine Artists, the Tvrdošíjní (“Stubborn Ones”) art group, and Mánes Union of Fine Artists. His painting was direct and vibrant, expressing sensual urgency. … From the very outset his Fauvist inclinations set him apart from his colleagues in the Osma group, whose work was oriented more towards Expressionism.Špála’s paintings always uniquely reflected a sense of immediacy and unrestrained joy from the painting process, as well as an essential sense for order, a feeling for pure color tone, and emancipation from agonizing existential questions. Through his new interpretation of the landscape and still lifes with flowers or fruits, Václav Špála became the main exponent of Bohemian painters’ affinity for the sensual hedonism of the ‘Golden’ Twenties. In his search for a striking, immediately potent expression, Špála did not hesitate to apply the principles of Post-Cubist deformation of form and to reduce the colors to two or three contrasting tones without denying his elementary relationship to the real natural world. His 'green period' lasted from 1923 to 1926, followed by his blue period in 1927–1930, when he painted in shades of aquamarine and Prussian blue, although this color retained its heraldic significance in his work until the end of his life. Špála’s hymn to nature is exemplarily reflected in his landscape paintings, which he approached with a sense of monumentality. One such painting is The Berounka River and Hills, an enchanting specimen from Špála’s famed 'green period'that, in line with the period movements of the 1920s, marked a peak in his renewed contact with the reality of the seen world. Karel Teige aptly called Václav Špála a 'lyricist of nature … a broadcaster of the sun and life' intoxicated from the colors of joy. The most characteristic and most coherent group from this vitalist direction in terms of expression are his paintings from the area around Srbsko, a village on the Berounka River that the artist painted in 1925–1926. The painting was executed face-to-face with nature, en plein air. The Berounka River and Hills is an unusually pure and generous painting in which Špála masterfully captured the majesty of the cliffs, the smoothly flowing river, and the lush vegetation surrounding the meander under an azure summer sky. It is the fascinating visual rhythm of land, sky, and water, transformed in the natural order of the painting. (…)"In the painting under assessment, the artist achieved an entirely original modification of the principles of Fauvist painting. The style uses the compelling rhythm of aggregate forms, defined by pure color which Špála treats as an element, interacting through its intrinsic, immanent light qualities; it is not the medium of light seen in Impressionism, where objects dissolve and vaporize.In this colorful arche he intentionally leaves traces of his masterful brushwork. The precise, succinct yet curt expression with the brush is the thread connecting the deep harmony of his senses with the power of natural phenomena."The Berounka River and Hills gives beautiful voice to Špála’s distinctive creative testimony, which rests in the inimitable synthesis of 'high'avant-garde expression with the 'humble', but all the more so passionate world of Home." Provinence: originally owned by Hugo Rottenberga (1896-1944), a Jewish art and rug dealer who moved from Krakow to Prague in around 1915.

MILOSLAV HOLÝ 1897 - 1974: BOUQUET IN A VASE 1932 Oil on canvas 100 x 74 cm Signed lower left: "M. Holý 32". Bouquet in a Vase presents Holý’s favorite theme. He particularly focused on floral compositions in the 1920s, when his palette brightened and gained vitality under the influence of his study trips to Paris and Brittany. This bouquet is an exemplary piece from Holý’s work during the First Czechoslovak Republic, which shines with the celebration of life and democracy. The impasto flowers are executed with energetic strokes of the brush, bringing together the painter’s lifelong interest in expression and colorism.Holý studied at the Academy of Fine Arts in Prague under Jan Preisler, Vlaho Bukovac and Jakub Obrovský, and he also attended printmaking courses led by Max Švabinský. He played an important role in the Ho Ho Ko Ko Social Group, which he co-founded with Karel Holan, Pravoslav Kotík and Karel Kotrba in 1924. He exhibited extensively in Czechoslovakia and abroad (France, United States, Italy), and later became a professor at the Academy of Fine Arts in Prague. He still drew on French exmplars in the 1940s, with the open landscapes and vivid colors he saw during his study residences in France in the late 1920s. Later (from the 1950s) the colors darken, dominated by green and again a certain trend towards Neo-impressionism. Miloslav Holý’s oeuvre is represented in all major Czech galleries. He is also the author of several articles and memoirs.

Raul Still life of fruit, signed lower right, 48cm x 59.5cm, and a further still life, 25.5cm x 33cm (2)

M.C. Fawkes Still life of flowers, signed and dated, 39.5cm x 49cm

D PIQUET (20th century) Continental Floral Still Life Oil on canvas, signed, framed. 25 x 19.5 cm. CONDITION REPORTS: Generally good, with expected wear.

DECORATIVE SCHOOL (20th century) Still Life of Flowers in a Vase Oil on canvas, indistinctly signed, framed. 19.5 x 24.5 cm. CONDITION REPORTS: Generally good, with expected wear.

A. Bambi, Still life of flowers, oil on board, 17x23cm; together with two botanical prints of roses

H. GOOYER (20TH CENTURY) Still life of flowers in a vase, oil on canvas, signed lower right, 60cm x 49cm.

DUTCH SCHOOL (PROBABLY 19TH CENTURY) Still life of flowers in a vase, oil on canvas, indistinctly signed lower right, 58.5cm x 48.5cm.

* WINIFRED MCKENZIE (SCOTTISH 1905 - 2001), FLORAL STILL LIFE oil on canvas, signed 51cm x 41cm Framed. Note: Winifred McKenzie was a painter and wood engraver who studied at The Glasgow School of Art, and in 1932-33 studied wood engraving at The Grosvenor School of Modern Art under Iain Macnab. The School operated from Macnab's home at 33 Warwick Square, Pimlico, London and even though it only existed for 15 years, it did much to revive the interest in print making. Those artists now known as "The Grosvenor School" include Macnab, Claude Flight, Lill Tschudi, McKenzie, Cyril Power, Sybil Andrews and Dorrit Black. During the second world war McKenzie taught wood engraving to service men and women at St. Andrews University, and was part of the St. Andrews Group of Wood Engravers which included her sister Alison, Annabel Kidson and Jozef Sekalski. Her paintings rarely appear at auction.

GEORGE GRAY (SCOTTISH 19TH CENTURY), FLORAL STILL LIFE oil on canvas, signed 46cm x 36cm Framed and under glass

20TH CENTURY SCHOOL, STILL LIFE oil on canvas, signed "G Clausen" 60cm x 50cm Framed

MARIE VOROBIEFF MAREVNA (RUSSIAN 1892 - 1984), REVOLUTION oil on board, signed and dated 1970 67cm x 90cm Framed. Provenance: This painting was gifted to Mrs Nina Barnes of Ainsdale Road, Ealing, London by the artist. Mrs Barnes used the professional name of Nina Walker and was Chorus Master, Royal Choral Society, Repetiteuse and Chorus Master at Royal Opera House, Covent Garden and Recitalist with Caballe. Nina Barnes and Morevna became friends through their attendance at Ealing Abbey which they both lived close to. Nina Barnes passed away in November 2018 and this painting is being sold by her family. Notes: Born Marie Bronislava Vorobyeva-Stebelska (????? ????????????? ?????????-???????????) in Cheboksary, Russia. Marevna is internationally known for convincingly combining elements of cubism (called by her "Dimensionalism") with pointillism and – through the use of the Golden Ratio for laying out paintings – structure. She has been accredited with being the first female cubist painter. Though she lived the greater part of her life abroad – her formative years as a cubist painter in France and her mature years in England – she is usually referred to as a "Russian painter". In 1910 she went to Moscow to study at the Stroganov Art Academy, but in the following year left for Italy. On the island of Capri she was introduced to Maxim Gorki who nicknamed her "Marevna" (after a Russian fairy sea princess). She adopted the nickname and was widely known as Marevna for the rest of her life. A petite blue-eyed blonde, she was said not to have been a conventional beauty; but an outgoing nature paired with the proverbial depth of the Russian soul seems to have given her a charm which made her "special" to all who knew her. She moved to Paris in 1912 as an aspiring twenty year old. It was there that she became friends with some of the greatest artists and writers of the early twentieth century then resident in Montparnasse and especially at La Ruche, among them were Pablo Picasso, Georges Braque, Marc Chagall , Jean Cocteau, Ilya Ehrenburg, Max Jacob, Moise Kisling, Henri Matisse, Amedeo Modigliani and Chaim Soutine. It was while a resident of La Ruche that Marevna met the gifted Mexican cubist and later muralist artist Diego Rivera. Diego Rivera was nearly 30 at the time and at the zenith of his phase, having already exhibited his works at three exhibitions. Marevna herself discovered cubism as an eminently suited vehicle for her own talent. Rivera was a known womanizer of fiery temper and began a relationship with Marevna while he was still in a common-law marriage with the Russian artist Angelina Beloff who was pregnant with Rivera's son. Despite Diego Rivera's assurances of his love for Marevna, their relationship ended soon after the birth on 13 November 1919 in Paris of their daughter Marika. It's probable that Marevna never fully recovered from the break up of her relationship with Rivera and it's reported that after her death her ashes were laid in the Rivera mausoleum in Mexico. Marevna exhibited widely in France and Europe throughout her career, as well as at the Guggenheim Museum in New York in 1968; and more recently a major retrospective was held at the Russian State Tretyakov Gallery in Moscow, in 2004. A small collection of her work is held at Athelhampton House in Dorset where she lived with her daughter during the 1950’s. Her work is also in several museums including a substantial collection at the Musée Petits Palais in Geneva. When her daughter's marriage ended Marevna moved to the London suburb of Ealing with her daughter and two grandsons. Her work was unfashionable for a period and a substantial number of her paintings were bought by international collector Oscar Ghez in 1967. Marevna died in London on 4th May 1984. Her work can command high prices at auction including Nu allongé (1930), at Aguttes, Paris lot 34 19/6/2009 sold for 266,966 EUR (premium) and Hasidic Dance During Chanukah Celebration (1970), at Sotheby's, New York lot 125 26/4/2006 sold for 228,000 USD (premium).

Victor Simonin (Belgian 1877-1946)Still life of summer flowers on a tableSignedOil on board63 x 79cm

‡Laurence Biddle (1888-1968)Still life of Pansies, Pelargoniums and Primula in a bowl with Alpine rockery Phlox foliageSigned and dated '29, also signed, inscribed, dated and numbered 139 on a label versoOil on board29.5 x 44cm

‡Julian Trevelyan RA (1910-1988)Still life of grapes, pears and bananas on a tableSigned and dated ~53Oil on board33 x 40cmProvenance:Christie~s London 6th December 1990 lot 213

Uzo Egonu (Nigerian, 1931-1996)Sacrificial Cocks; Second Sacrificial Cocks; Still life with Silver Teapot; Old Spinning Wheel; Flute Player and DancersFive, all signed, titled and dated ~73 and ~74Three lithographs and two etchings, all artist~s proofs, unframedEach 58 x 79 and similar (5)Provenance:Private Collection

‡Leon Morrocco (b. 1942)Still life of fruit in a bowl and a large plate on a tableSigned and dated ~93Oil on board35 x 35cm++Good condition

‡Robbie Wraith (b.1952)Still life of hanging garlicSignedOil on board, unframed22.25 x 16cm++Corners a little chipped and knocked otherwise good condition

‡Howard Phipps (b.1954)Edge of Wood Broadchalke; Salisbury Interior Everyman Bookshop; Ivy study; Still life of cheese and bread4, all signed, variously dated, titled and numberedAll wood engravings6 x 10cm and smaller (4)

English school - 19th century oil on canvas, still life of fruit, 44.5cm x 54.5cm

4 PIECES TO INCLUDE 2 SIMILAR WINDMILL THEMED WATERCOLOURS, STILL LIFE WATECOLOUR AND 3 ETCHING/ENGRAVINGS

W WOODTHORPE 1984 ORIGINAL PICTURE OF STILL LIFE PLUS OIL ON BOARD OF CHURCH SCENE

* KUSTODIEV, BORIS (1878–1927) Bakhchisarai, signed and dated 1917.Oil on canvas, 80.5 by 94 cm.Provenance: Collection of N.D. Andersen, Leningrad.Acquired by the grandfather of a previous owner.Private collection, UK.Authenticity of the work has been confirmed by the expert V. Petrov.Exhibited: Mir Iskusstva, Petrograd, 1918.Boris Mikhailovich Kustodiev, State Russian Museum, Leningrad, 1959.Literature: Exhibition catalogue Mir Iskusstva, St Petersburg, 1918, p. 9, No. 174, listed.V. Voinov, B.M. Kustodiev, Leningrad, Gosudarstvennoe izdatelstvo, 1925, p. 84, listed under the works from 1917.Exhibition catalogue, Kustodiev, Leningrad, 1959, p. 37, listed under the works from 1917.M. Etkind, Boris Mikhailovich Kustodiev, Leningrad, Iskusstvo, 1960, p. 197, listed under the works from 1915, marked as completed in 1917.M. Etkind, Boris Kustodiev, Moscow, Sovetskii khudozhnik, 1982, p. 178, listed under the works from 1917.Related literature: For a study for the present work, see Gosudarstvennaia kartinnaia galereia Armenii. Zhivopis. Skulptura. Risunok. Teatr. Katalog, Yerevan, Aiastan, 1965, p. 502, listed as Prodavtsy fruktov. Bakhchisarai.Boris Kustodiev’s painting Bakhchisarai, offered here for auction, is a unique work in the artist’s legacy. Among his classic easel works, it stands out because of its unexpected Oriental subject, which is more reminiscent of a stage set than the canvasses typically associated with the artist; and also because of the precise geographical siting of the motif and the vibrant range of colours in the night landscape — a palette that is unusual even for Kustodiev.In 1915, the artist spent two months in the Crimea, but, through a combination of circumstances, Bakhchisarai is now the only reminder of this trip. Perhaps this is because the journey to the Crimea was something that the artist needed, rather than wanted, to do. Kustodiev’s spinal illness was growing progressively worse, and he urgently required a change of climate; he also wanted to try a medicinal mud treatment. In a letter to the art historian and collector Fyodor Notgaft dated 2 September 1915, he complained: “I came to Moscow, and soon I have to leave it again — the doctors insist, and I feel it myself, since my health is very, very poor.... I’m going to Simferopol on the 11th, and from there on to Yalta. I’ll be in a clinic there for 2 weeks, and then I’ll be living near Yalta for about a month and a half...” (B.M. Kustodiev. Pisma, statii, zametki, interviu, Leningrad, Khudozhnik RSFSR, 1967, p. 151).We know very little about the artist’s stay in the Crimea. More precisely, we know only the scant details that he revealed to his relatives and friends in letters. At the beginning of October, Kustodiev writes from Yalta to his daughter Irina: “Mum and I have a large, very bright room facing south — there are poplars, palm trees, roses and pines in front of the windows — there are mountains in the distance. The windows are wide open all day, it’s very warm. At 4 o’clock, they treat me with black, rather foul-smelling mud, then I take a bath, after that I lie down for a while on the bed till dinner, which is at 7 o’clock in the evening. It is really rather boring here, and we can’t wait to leave...”The same sort of despondency — albeit even more acute due to the change in weather — can also be seen in a letter that Kustodiev sent a few days later to the actor Vasily Luzhsky: “I’m listless and depressed. I don’t want to do anything. Despite even the muchhyped warmth and sunshine here, it’s very dreary and boring. Now we barely see either of them, it’s cold, the sun comes out for about two hours in the morning, and almost the whole sky is covered in rain clouds.” Because of his bad mood and poor state of health, Kustodiev does little work in Yalta. He is dispirited because the mud therapy, on which the doctors had pinned their hopes, has not brought about any positive changes, and a week before his departure, planned for 22 October, he, seemingly reluctantly, blurts out in a letter to Luzhsky: “I won’t write about myself — everything’s the same or even seems worse....”It is likely, therefore, that the only artistic impression associated with the artist’s stay in the Crimea was a trip to Bakhchisarai. It is from there that he brought one small watercolour study. Today, this sheet, which has preserved the original composition showing the small square near the old palace of the Crimean Khan, where the fruit vendors have taken up their positions, is housed in the National Gallery of Armenia in Yerevan. The drawing was made from real life in the morning, when there was still no bright sunlight, and the sellers were just laying out their wares in the square among the small buildings of the ancient capital of the Crimean Khanate, surrounded by mountains. This study was used for the big picture, dated 1917, which Kustodiev executed when back in his studio in Petrograd.During work on the canvas, Kustodiev altered the sketch quite substantially. The central emphasis in the figural and dynamic structure of the picture is now not so much on the landscape but rather on the conveying of light and colours of an evening street in the little Tatar town. The composition boasts an abundance of characters and eloquent details that reveal the subject because of their convincingly realistic and authentic rendering. However, the groundwork for the structural design of the composition was undoubtedly laid by the watercolour sketch. The mountains encircle the space in the distance, so that the main action, devoid of any centre, takes place in what looks like a narrow stage setting, bounded by a backdrop of characteristic Oriental structures.The repeated horizontal divisions — the outlines of the gently sloping mountains and oblong roofs — contrast with the vertical forms of the minaret and the rising smoke from a furnace and, combined with the bustling crowd in the foreground, constitute the basis of a rhythm, the vibrant waves of which run through the market square, the diagonally diverging streets and the picture as a whole. The artist eschews any literal handling of real life and daringly creates the provocatively gaudy colour combination of an orange sunset sky, dark-blue shadows and the thin sickle of a moon, the cold light of which is offset by the blindingly hot light of the windows.As Kustodiev creates a universal image of “the east”, he is looking for a generalisation that is convincing because of specifically recognisable details and literal quotations from what he has seen in reality. He chooses to combine the impressions of what he has seen at different times of the day and in different places; yet it is not a chaotic, random and arbitrary mishmash, but a strictly organised whole. Unusual though it may be, Bakhchisarai undoubtedly fits into Kustodiev’s artistic system of the 1910s, in which the theme of the colourful street fair and street trading is prominent. From Village Bazaar (1903) and The Fair (1906) onwards, the persistent theme in Kustodiev’s work comes to be that of crowded and plentiful shopping squares, market days and Volga vegetable displays, which symbolise the inherent, natural wealth of the land and the fruitfulness of farm labour.

BARTHE, VICTOR (1887–1954) Still Life with a Doll, signed twice and dated 1927.Oil on canvas, 50.5 by 65.5 cm.

*SVETLAKOV, SERGEI (B. 1961) Still Life with Fruit, signed and dated 2016, also further signed on the stretcher.Oil on canvas, 50.5 by 40.5 cm.Provenance: Private collection, Europe.

GONCHAROVA, NATALIA (1881–1962) Still Life with a Ginger Jug, signed with initials, also further signed and inscribed with the artist’s address on the reverse, also further signed on the stretcher.Oil on canvas, 33 by 24 cm.Provenance: Collection of Hélène du Bouchet-Lovell, New York.Impressionist and Modern Paintings, Drawings, Watercolours and Sculpture, Sotheby’s London, 24 May 1989, lot 31.Russian Art, Paintings, Sotheby’s London, 27 November 2007, lot 220.Private collection, UK.Exhibited: The Russian Experiment. Master Works and Contemporary Works, Castle Gallery, College of New Rochelle, New Rochelle, September–October 1990.

BURLIUK, DAVID (1882–1967) Still Life with Roses, signed and dated 1961.Oil on canvas, 66 by 67 cm.Provenance: With American Contemporary Art Gallery, New York, 1960s (label on the stretcher).Acquired by the present owner in Munich in 1992.Private collection, Germany.

OLIVER CLARE (British 1853-1927); oil on canvas, still life of apples, plums and raspberries, signed lower-right, 15.5 x 20.5cm, gilt framed.

M AARON (20th century); oil on board, still life with fruit, signed lower-right, 25.5 x 20cm, gilt-framed and G Johnstone (20th century); still life with flowers in vase, signed lower-right, 45.5 x 40.5cm, framed (2).

Pastel, Still life

C Hope (20th century), Still life of fruit, bread, a carrafe and a knife, signed lower left, oil on board, 25 x 36cm

C Hope (20th century), Still life of cherrys, fruit and a pewter jug, signed and dated '87, oil on board, 22 x 31cm

C Hope (20th century), Still life of fruit, pewter, a glass jar and an earthern ware jug, signed and dated '87, oil on board, 33 x 34cm

Edward Morgan (B.1933), still life with vegetables, signed lower right, oil on canvas, 29 x 64cm, together with a further fine oils by the same hand

Edward Morgan (B.1933), still life with fish, signed, oil on canvas, 49 x 75cm, together with a collection of oils by the same hand (collection)

Edward Morgan (B.1933), still life of fish, signed, oil on board, 27 x 30cm, together with a watercolour of an urban canal, and other compositions (collection)

A Coalport twin-handled vase and cover late 20th century painted with a still life panel of fruit, signed M. Pinter, with ramshead handles, printed factory mark, 24cm high - complete with original box

C Hope (20th century), Still life of apples and grapes, signed and dated '87, oil on board, 18 x 22cm

C Hope (20th century), Still life of fruit, nuts and a knife. signed and dated '87, oil on board, 32 x 27cm

C Hope (20th century), Still life with fruit, eggs, bread, a glass and jug, signed, oil on board, 25 x 36cm

C Hope (20th century), Still life of fruit, books and other study items, signed and dated '87, oil on board, 23 x 43cm

Stone (20th century), Still life of fruit and a vase, signed lower right, oil on board, 19 x 24.5cm

Oil on canvas on canvas, still life vase of flowers, still life vase of flowers, framed

Cary, 2 pastel and charcoal drawings, dog studies, and 2 watercolours, still life flowers

An Artagraph edition, still life of fruit

A 20th Century Makkum blue and white ceramic twin-handled pierced basket, decorated with fruit still life, rope-twist rim and handles, 28 cm diameter

Peter Sunnucks (20th Century) pencil watercolour and gouache on paper, 'Great Spotted Woodpecker', signed 'Peter Sunnucks' (lower left), 41 cm x 28.5 cm; together with M. McMurtie (20th Century) watercolour and pencil on paper, 'Still Life with Roses', signed 'M.McMurtie' (lower right), 36 cm x 33.5 cm; After John Leach (1817-1864) lithograph, 'Gone Away', 40 cm x 62 cm; 20th Century Egyptian School gouache on papyrus, 'Geese on the Riverbank', 36 cm x 46 cm; Virginia Mitchell (20th Century) watercolour on paper, 'View of Valdštejnská, Prague', signed and dated 'VIRGINIA/MITCHELL/1988' (lower left), 36 cm x 27 cm; Eric Sturgeon (1920-1999) lithograph, 'York Minster', signed and titled in pencil to margin, 32 cm x 42.5 cm; and 20th Century French School coloured engraving, 'Fishing Near a Mill', indistinctly signed and titled in pencil to margin, 24 cm x 19.5 cm, each framed and glazed (one frame af) (7)