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pastel on paper, signed, titled label verso mounted, framed and under glass image size 21cm x 29cm, overall size 42cm x 50cm Label verso: The Open Eye Gallery, Edinburgh Note: Painter, draughtsman and teacher, born John Knox at Kirkintilloch, Dunbartonshire. He studied at Glasgow School of Art, 1953–7, where his teachers included William Armour and David Donaldson. In 1958 won a travelling scholarship which enabled him to study in Paris under André Lhote. Knox painted in a variety of styles, being influenced by the American Abstract Expressionists for a time, although on occasion creating still lifes in the manner of the Dutch Old Masters. From 1965–81 Knox taught at Duncan of Jordanstone College of Art, Dundee, in 1981 becoming head of painting at Glasgow College of Art. Took part in many group shows in Scotland and abroad and had a series of one-man exhibitions, including 57 Gallery, Edinburgh; Serpentine Gallery in London; and Civic Arts Centre, Aberdeen. In 1983 a solo show was toured to a number of Scottish venues by the Scottish Arts Council; Drawings 1956–1998 was held by Cyril Gerber Fine Art and Compass Gallery, Glasgow, in 1998. Was elected RSA and has work in many public collections, including Scottish National Gallery of Modern Art, Edinburgh. Lived for some time in Carnoustie, Angus.

watercolour on paper, signed, titled label verso mounted, framed and under glass image size 37cm x 54cm, overall size 48cm x 65cm Exhibition label verso: Earl Haig - New Paintings 10 July - 7 August 1993, The Scottish Gallery, Edinburgh Comment: a spectacular and large example with prestigious documented exhibition provenance. Note: Earl Haig (son of the Field Marshall) started painting as a prisoner of war. The paintings and drawings he made in Colditz Castle were exhibited at The Scottish Gallery in 1945 in an exhibition attended by HM The Queen. He went on to train under Victor Pasmore and Lawrence Gowing at Camberwell School of Art, London when fellow Scot William Johnstone was Principal. He had a distinguished exhibiting career primarily with The Scottish Gallery which spanned over six decades, concluding with his remarkable 90th birthday show in 2008. However, the same prestigious Edinburgh Gallery staged a Memorial show for Haig in 2011 and a major centenary show in 2018. In 2020 another solo show was staged (November - December 2020) by The Scottish Gallery focussing on examples from the Scottish Borders and Italy, where he spent an increasing amount of time from the mid-1970s. Earl Haig's work was shown widely elsewhere in Britain and on the continent, latterly including Clarges Gallery and Gallery 10, London. His work held in the collections of HM The Queen and other members of the Royal family, Scottish National Gallery of Modern Art and further public and notable corporate collections. Earl Haig was a member of the Scottish Arts Council and of the Royal Fine Art Commission for Scotland and a Trustee of the National Galleries of Scotland. As a landscape painter he was fond of simple, almost naïve images infused with a rich palette. Lived in Bemersyde, Melrose, Scotland.

oil on board, signed and dated LXXX unframed Handwritten label verso Note: A hugely important figure in Scottish 20th Century art. Of the forty eight examples of his work held in National Collections, Glasgow Museums hold 8, The Hunterian 8, The Scottish National Gallery of Modern Art 5 and multiple examples are held by The National Trust For Scotland, The RSA, Dundee Museums and Galleries, Perth & Kinross, Aberdeen Museum & Galleries, South Ayrshire Council, The Paisley Art Institute and others.

limited edition bronze on wooden base, signed and inscribed AP 28cm tall Note 1: This work was cast in Edinburgh in an edition of 9, plus 4 Artist Proofs. Note 2: John Byrne studied at both Edinburgh and Glasgow Schools of Art in the late 50s and early 60s. A superb painter and draughtsman, the multi-talented Byrne was also a first-class playwright (‘The Slab Boys’, ‘Tutti Frutti’), his ear for dialogue was as acute (and witty) as his eye for detail. Much of his subject matter in both disciplines is overtly autobiographical, he often included or refers to the Teddy Boy/Rock and Roll era of his youth. Byrne designed record covers for Donovan, The Beatles, Gerry Rafferty and Billy Connolly. His work is held in major collections in Scotland and abroad. Several of his paintings hang in The Scottish National Portrait Gallery in Edinburgh, the Museum of Modern Art and the Kelvingrove Art Gallery and Museum in Glasgow.

Ca. 2300 - 1800 BC.A gorgeous 22.5 ct wearable necklace composed of a barrel shaped agate bead with gold terminals, set in an ancient twisted gold necklace. The agate grades from creamy white sharply to dark brown. For similar see: Christie's, Live Auction 2375, Ancient Jewellery, Lot 306.Size: 440mm x 15mm; Weight: 25gProvenance: Prince collection, 1990s-2014; Ex. Binoche' Paris, 30 May 2012, lot 45. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.

* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), THE GOALKEEPER, 1973 bronzed plasterExhibited:Edinburgh, Benno Schotz Retrospective, Touring Exhibition, 1971, no. 144. Edinburh, Royal Scottish Academy, Annual Exhibition, 1973, no. 61. A smaller bronze version of this sculpture was exhibited: Glasgow, Royal Glasgow Institute of Fine Arts, Annual Exhibition, 1968, no. 54. Glasgow, Royal Glasgow Institute of Fine Arts, Annual Exhibition, 1985, no. 20.Note:Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997. 59cm high including wooden plinth

* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), THE PRINCE OF GOALKEEPERS (JOHN THOMSON OF CELTIC F.C.),, CIRCA 1968 bronzed resinA bronze of this sculpture is in the collection of Celtic F.C.Note on both Schotz and Thomson:Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997.John Thomson, The Prince of Goalkeepers, is one of the most important figures in the history of Celtic Football Club.Having signed for the team in 1926 at the age of 17, his natural athleticism and brave spirit ensured he would become a mainstay between the sticks. He helped the team to two Scottish Cups and three Glasgow Cups. He would also represent the national side and national select XI four times apiece.Thomson's name will forever be associated with the tragedy that befell him during an Old Firm clash on the 5th September 1931. The match was played at Ibrox in front of 80,000 fans. Early in the 2nd half, Thomson collided with Rangers player Sam English, whilst both going for the ball. Most people assumed the goalkeeper badly injured as he was stretchered off, Chic Geatons taking his place in goal.Upon being transported to the Victoria Infirmary, Thomson would soon be pronounced dead. The death of a young goalkeeper in his prime shocked the footballing world. Beyond that, the tragic loss of a young man's life, only 22 years of age and recently engaged, still stands as amongst the most profound moments in sporting history.40,000 people attended the funeral in his home town of Cardenden, including thousands who travelled from Glasgow, many walking the 55 miles to the Fife village. 101cm wide

* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), THE PRINCE OF GOALKEEPERS (JOHN THOMSON OF CELTIC F.C.),, CIRCA 1968 bronzed plasterA bronze of this sculpture is in the collection of Celtic F.C.Note on both Schotz and Thomson:Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997.John Thomson, The Prince of Goalkeepers, is one of the most important figures in the history of Celtic Football Club.Having signed for the team in 1926 at the age of 17, his natural athleticism and brave spirit ensured he would become a mainstay between the sticks. He helped the team to two Scottish Cups and three Glasgow Cups. He would also represent the national side and national select XI four times apiece.Thomson's name will forever be associated with the tragedy that befell him during an Old Firm clash on the 5th September 1931. The match was played at Ibrox in front of 80,000 fans. Early in the 2nd half, Thomson collided with Rangers player Sam English, whilst both going for the ball. Most people assumed the goalkeeper badly injured as he was stretchered off, Chic Geatons taking his place in goal.Upon being transported to the Victoria Infirmary, Thomson would soon be pronounced dead. The death of a young goalkeeper in his prime shocked the footballing world. Beyond that, the tragic loss of a young man's life, only 22 years of age and recently engaged, still stands as amongst the most profound moments in sporting history.40,000 people attended the funeral in his home town of Cardenden, including thousands who travelled from Glasgow, many walking the 55 miles to the Fife village. 51cm wide

A Pair of Art Deco Style Mother of Pearl Buttons, alternate inset centre, within similar border, together with a modern double lavender coloured pearl set bar brooch.

* CHARLES MURRAY (SCOTTISH 1894 - 1954), RAIN, PORT BANNATYNE, BUTE drypoint etching on paper, signedmounted, framed and under glassimage size 17cm x 25cm, overall size 38cm x 45cm Provenance: The Scottish National Gallery of Modern Art hold a copy of "Rain, Port Bannatyne, Bute" (purchased in 1964). Their website suggests a date of 1930.Note: Charles Murray was born in Aberdeen and studied at the Glasgow School of Art for three years. He served with the ‘White Army’ in Russia from 1918-20, joining a diverse group of counter-revolutionary forces who fought against the Bolsheviks. On his return to Glasgow, Murray won the highly coveted "Prix de Rome" for etching and studied at the British School in Rome from 1922-25. He travelled extensively in Europe but came back to Scotland in 1926 to teach engraving at the Glasgow School of Art (where he taught and inspired Ian Fleming RSA RSW RGI), and later lived in Leeds and Middlesex. He produced paintings and etchings in a style influenced by Mannerism. Murray had his first major one-man show at The Leicester Galleries (London) in 1946 and another at Batley Art Gallery in 1950. There was a Memorial exhibition at Temple Newsam House (Leeds Museum & Art Galleries) in 1955 and an Edinburgh International Festival show at the Merchant Company Hall in 1977. Murray's paintings have always attracted academic acclaim and the Tate bought one of his paintings in 1940. His work is held in UK Public collections including at Glasgow Museums & Art Galleries, the Arts Council Collection (Southbank Centre), Bradford Museum & Galleries, the Ferens Art Gallery, The Hepworth, Leeds Art Gallery and Museums, Kirklees Museum & Galleries, Sheffield Museums, Aberdeen Art Gallery & Museums and Tate (London).

WILLIAM BRADLEY LAMOND RBA (SCOTTISH 1857 - 1924), MAKING BANNOCKS oil on canvas, signed, titled label verso framed image size 36cm x 46cm, overall size 47cm x 55cm Label verso: Forrest McKay, Edinburgh Provenance: Bonhams, Edinburgh, 9th June 2011 lot 167. Note: William Bradley Lamond was born at Newtyle, Angus. He had no formal art training and worked for the Caledonian Railway company for many years. He initially specialised in portraits and later worked on landscapes which have been described as "vigorous impressionistic scenes in oil – with a strong use of colour". He was elected a member of the Royal Society of British Artists in 1906, and exhibited at the Royal Academy (London), Royal Scottish Academy and Glasgow Institute of the Fine Arts. William Bradley Lamond first publicly exhibited his work at Dunfermline's Fine Art Exhibition in 1883, followed by the Dundee Fine Art Exhibition in 1884. Five years later he showed at the Royal Scottish Academy for the first time with the painting "A Mile Abune Dundee". In 1890 he became one of the founding members of the Dundee Graphic Arts Association and had work shown at Robert Scott's gallery in the city. His first notable commission came the following year – a presentation portrait of Sgt Major Kilgour of the Dundee Highlanders. Around 1894, he hit on one of his most profitable subjects – shore scenes featuring seaweed gatherers at work with horse and cart. He showed one such scene at Scott's which the Evening Telegraph hailed alliteratively as "a brilliant bit of brightsome work". It was soon bought by a local collector and Lamond painted many more variations on the same theme, including "A Breezy Day" (1896). In 1895 he had his most successful year yet, showing at the Glasgow Institute and the RSA and ending with an exhibition of paintings and sketches in his studio at 61 Reform Street. Although Lamond eschewed modern art, his compositions were often regarded as distinctive due to his preference for capturing particular effects rather than selecting subject matter because of its social or symbolic meaning, in contrast to other Dundee painters such as John Duncan or Stewart Carmichael. In 1898, 60 of his paintings were auctioned by William Fyfe at the City Assembly Rooms, fetching prices of up to 19 guineas. In 1900 he showed at the Royal Academy (London) for the first time and soon began to cultivate a London audience. In 1902 he opened his first one-man show in London, at Clifford's Gallery in Haymarket. Although many Dundee illustrators and cartoonists had enjoyed success in London (such as Martin Alexander and Max Cowper), the city's painters had rarely made such an impact in the capital. Lamond returned to London in 1903 to undertake a number of commissions and later that year was elected a member of the Royal Society of British Artists, recognised as "a painter of strength, with a true eye for colour harmonies and a special aptitude for interpreting the beauties of northern landscape and coast scenery". He continued to show work at the exhibitions of the RBA, RSA, Glasgow Institute and GAA but A, but in 1906 his health broke down. By summer 1908 Lamond was back in Dundee, where he held an exhibition of his latest work in his new studio at 3 Constitution Road; the following year he moved to 27 Bank Street where he would remain for the rest of his life. In 1915 he gained a celebrity patron in the person of music hall legend Harry Lauder, who commissioned two paintings from him and visited him periodically in both Dundee and Auchmithie. During the Great War, Lamond continued to paint as much as ever, spending his summers in Auchmithie then showing the results in exhibitions in his studio each autumn. Lamond died of pneumonia in 1924 at his home in William Street. Thirty-two of William Bradley Lamond's paintings are held in Scottish public collections.

A modern Art Deco style standard floor lamp, with clear glass shade, height including shade 154cm.

A modern 925 hallmarked silver Art Nouveau style butterfly brooch, 7.5 x 5cm, and a modern Carrs of Sheffield hallmarked silver 1/2 oz ingot pendant, combined approx 1.45ozt/45.2g (2).

A collection of lighters and table lighters including a boxed Ronson lighter, further Ronson lighters, Beck lighter with clock, Art Deco alarm clock and a modern Japanese lighter (14).

Reg Butler (1913-1981) bronze, "Ophelia L", 1955-56, 50cm high (8 of 8), together with Gallery Pangolin receipt and certificate dated January 2020  From the collection of the late Maurice Costley  Reg Butler studied and lectured at the Architectural Association School of Architecture in London from 1937 to 1939.  A conscientious objector during World War Two, he was exempted from military service and set up a blacksmithing business repairing farm tools. He became one of the best known sculptors of the 1950s and 1960s, and taught at the Slade School of Art. Many of his works are in the collections of the Museum of Modern Art in New York and the Tate Gallery in London. Condition Report

A collection of art interest and art history to include Examples of Modern British Art (1877), The Boydell Gallery (1874) and books on 20th century artists (14) including Klee, Hopper, John and others

'Modern Architectural Art' Sir John J Burnet & Partners an advertising pamphlet, 1924, printed by Edward J Burrow & Co Ltd, London, illustrated with the British Museum, The Kodak Building, Paddington GWR War Memorial, The Selfridge building, all undertaken by the firm; and 'The Buildings of the British Museum - Illustrated from prints and drawings', 1914, Prepared by Order of the Trustees on the occasion of the opening of King Edward the Seventh's Galleries, May, 1914, in a folio, (2)Provenance: Thomas Smith Tait was the vendor's grandfather, who was an architect who worked at Sir John Burnet & Partners. Condition ReportUsed and worn. Staining - not complete.

A large pink cut-glass perfume bottle with stopper - modern, in the Art Deco style, 25cm high.

FIRESIDE FURNITURE Comprising; an Art Deco walnut facetted coal box, 37cm high; a pair of modern woven wicker log baskets, 54cm high; and another pair, 36.5cm high (5) Provenance: The Estate of a deceased Gentleman Condition Report: Please note the below condition report is the only one available. Marks, knocks, scratches and abrasions commensurate with age and use Some old chips, splits, losses and repairs The woven baskets with signs of use and wear - but all of solid, stable structure overall The mahogany coal bucket with signs of use and wear. Coal pieces and dust still contained within. The timber panel to the underside with water damage, losses and blooming. The above report is supported with additional images which can be sent via a link. Please 'Ask a Question' to request these images. For any further enquiries please contact the department directly. Condition Report Disclaimer

Y CIGAR RELATED ITEMS INCLUDING: Two modern wood humidors, both unmarked, larger a satinwood variant, 26cm wide, 12cm high; an Art Deco onyx and malachite inset cigarette box, silver hinges hallmarked for Puddefoot, Bowers & Simonett Ltd, London 1946: ten ceramic vide poches including single Hermes example with Napoleonic soldier on horseback, 19cm wide Provenance: The Estate of a deceased Gentleman Condition Report: Please note the below condition report is the only one available. Marks, knocks, scratches, and abrasions commensurate with age and use. Some surface wear and dirt from use.Humidifier and barometer included in the satinwood, the other includes a hygrometer. The art deco humidor has separated at the hinge, and the onyx and malachite have some wear and surface marks. Some chips and surface imperfections to the ceramic vide poches.The above report is supported with additional images which can be sent via a link. Please 'Ask a Question' to request these images. For any further enquiries please contact the department directly.Condition Report Disclaimer

AN UNUSUAL CARVED BOXWOOD 'SPHERE' THE NETHERLANDS, LATE 17TH OR EARLY 18TH CENTURY The circumference carved in low relief with the provinces of the Netherlands to one side and the National Arms to the opposite side, modern display stand sphere 8cm diameter Provenance: London Art Market early 1970s Ex Private collection Unusual and possibly 'unique', the sphere is finely carved in low relief displaying various coats of arms. It has been suggested that the 'sphere' may have been a 'template' for an elaborate silversmith's construction of a 'kunstkammer' centre-piece, the ball acting as a support. Or maybe simply a carved 'apprentice' piece displaying their own abilities at carving boxwood, a preferred choice of material in the 17th and 18th century Dutch carving tradition.

A RARE SPIRIT MASK 'BARAK' OR 'YAMBURAI PARAK' EASTERN SEPIK PROVINCE, NEW GUINEA, LATE 19TH - EARLY 20TH CENTURY Wood, remains of polychrome, modern stand mask 45cm high, 35cm deep Provenance: UK Art Market Ex Private collection Literature: 'New Guinea Art, Masterpieces from the Jolika collection of Marcia and John Friede, Fine Arts Museum San Francisco, vol. 2, pg. 89. ill. 39 Originally these masks were brightly coloured. However, after many years of exposure within the ceremonial houses the colour faded away through use and weathering. The mask was traditionally worn by a dancer whose plant fibre costume completely covered him, and was associated with an important male mythical being. The Barak (sometimes spelled 'barag' or 'brag') were situated to the west of the Sepik River. The Sepik River was first explored in 1885 by Otto Fisch. He wrote of the region's cultural diversity and beauty of the villages that he saw on the banks of the river over which towered the 'men's houses'. In the early 20th century collectors of primitive art were astounded at the sheer quantity of marvellous objects to be found in this region and the extraordinary inventiveness of the forms in this difficult swampy terrain.

A SAMURAI ARCHER'S GLOVE (MITSUGAKE) 三つ弽 JAPAN, EDO PERIOD- 1603-1868 Deer leather, material, ink, modern display stand glove 25cm long Provenance: Ex Private collection For a Japanese table scroll, detailing a very similar glove, lying next to a bow see accompanying photograph by Yoshizo Shibahara, from a private collection. A rare survival, there is an ink inscription inside the glove allowing us to date the glove to 1683 寿永二年, together with the workshop where it was made: 〇武具店, O-armor. Kyūdō or 'Kyūjutsu' (the name used prior to 1919) was the martial art of archery within the 'Samurai' class of feudal Japan. The first 'asymmetrical' longbow recorded in Japan dates to the Yayoi period (circa 500 BC to 300 AD).

Y A FINE JINGASA WITH MOTHER-OF-PEARL 'MOSAIC' DECORATION JAPAN, LATE EDO PERIOD, CIRCA 1861-1863 Lacquer, wood, leather, mother-of-pearl, gilt, decorated with three 'Kamon' in gold 'Hiramakie' of the 'Toyotomi' family, interior decorated with a 'Tshugaru Nuri' red lacquer, on modern metal display stand jingasa 7.5cm high, 37cm diameter The art and industry of lacquering, although well represented in China, has only been fully and exceptionally developed in Japan. It is said that the use of the lacquer juice was known long ago in the days of Yamato Daké no Mikoto (71-130 AD) who ordered some lacquered toys for his children.

A HELLENISTIC MARBLE FUNERARY STELE IN HIGH RELIEF CIRCA 2ND CENTURY BC With two male heads, modern stand stele 20.5cm high, 38cm wide, 11cm deep, 25.5cm high overall with base Provenance: Ex Private collection, Paris, France, acquired early 20th Century Originally encased in an Art Deco plaster display mount with a grey polished surface Ex UK collection

A RARE PARAGUAYAN WOOD EAR ORNAMENT 19TH CENTURY With old collector's label 'Ear Wood. Paraguay', modern display stand 6cm diameter, 3.5cm deep Provenance: James T Hooper London/Arundel Romy Rey collection, London Literature: Published: Steven Phelps; 'Art and Artefacts of the Pacific, Africa and the Americas, The James Hooper Collection' 1975, plate 216, no. '1718'

AN INTERESTING FRENCH TOLE PEINTE BESPOKE MILLINER'S TRADE OR SHOP SIGN EARLY 19TH CENTURY In the form of a red painted and gilded bicorne hat as worn by Napoleon Bonaparte, modern stand hat 25cm high, 64cm wide, 27cm deep In 1732 Dean Jonathan Swift wrote of Dublin's shop signs 'I have not observed the wit and fancy of this town so much employed in any one Article as that of contriving a variety of signs to hang over houses where punch is served'. Before the general spread of literacy and standardised postal addresses brightly painted signs hung outside shops and businesses to advertise the services or goods within. Shop signs are one of the most long established forms of European folk art. The golden age of trade signs was from the late 17th century to the early 19th century. In the late 18th century, many large cities placed prohibitions on the installation of street furniture as streets became more crowded and inhospitable. This, together with the rise of literacy and the spreading of the use of plate glass allowing for elaborate window displays, put an end to this particular form of street art. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Weathering and paint losses- as per usage and display- painted just to one side- wear to margins, some old rust, interior with vacant interior mount point Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer

Y  A SUPERB MALAKULA ELONGATED HEAD NEW HEBRIDES, VANUATU. CIRCA 1900 Tree fern, bone, pigment, polychrome, modern stand head 18cm high, 14cm wide, 22cm deep, 26.5cm high overall Provenance: Acquired in Australia at auction circa 1968-69 Nicolai Michoutouchkine collection, Nouméa The N. Michoutouchkine-A. Pilioko Foundation, inventory no. 340 Ex: M. Doustar Ex Private collection Exhibited: 'Ethnography and Art of Oceania, of Michoutouchkine-Pilioko Foundation, Moscow, Fukuoka, 1989, no. 342 Literature: Michoutouchkine-Ivanovna, Ethnography and Art of Oceania, Michoutouchkine-Pilioko Foundation, Ministry of Culture of the USSR, Academy of Sciences of the USSR, Moscow, 1999, no. 3 Two similar over modelled 'skulls' collected by Edgar Aubert de la Rue in the 1920's, now housed in the Quai Branly Museum The Culture Hero Ambat is associated with the origin of head-binding in certain coastal areas of southern Malakula, Vanuatu. Ambat himself had an elongated head and a fine, long nose. Head elongation styles varied slightly among the many different language and cultural areas of southern Malakula. The area where people have the longest elongated heads is the Nahai-speaking area of Tomman Island and the south south-western Malakulan mainland opposite. A person with a finely elongated head is thought to be more intelligent, of higher status and close to the world of the spirits. Even today, throughout Vanuatu, the Bislama / Pidgin English term, Longfala Hed (Long Head) is synonymous with intelligence. On Tomman Island and the facing south south-western Malakula mainland, head-binding began a month after birth. Each day the child's head was smeared with burnt paste made from the Navanai-Molo nut (from the candle nut tree). This softens the skin and prevents 'binding rash'. The head was then bound with Ne'Enbobosit, a soft bandage made from the inner bark of a banana tree. Over this was placed a No'onbat'ar (specially woven basket) made from Nibirip (pandanus) and bound around with the Ne'euwver (fibre rope). This process continued every day for six months to produce the required shape. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Natural patina from handling and age- some natural shrinkage visible throughout notably around fern mount, small whiter patches of colour visible notably to right cheek Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential purchasers should satisfy themselves as to the requisite import restrictions and requirements with regards this lot prior to bidding. The refusal of any licence or permit and any delay in obtaining such licences or permits shall not give rise to the rescission or cancellation of any sale, nor allow any delay in making full payment for the Lot.  Condition Report Disclaimer

A modern Art Deco style showwood maple veneered and inlaid club armchair with a low back and enclosed, level arms, upholstered in aubergine coloured, cut dralon, raised on short square legs

* ALASDAIR GRAY (SCOTTISH 1934 - 2019), DOMESTIC CONVERSATION limited edition silkscreen print on paper, signed, numbered 29/90, dated 2006framed and under glassimage size 27cm x 35cm, overall size 41cm x 60cm Note: Along with John Byrne, Alasdair Gray has been described as one of the great Polymaths of the Scottish modern arts movement. Prolific writer and artist since graduating from the Glasgow School of Art in 1957. He published novels, short stories, plays, poetry and translations, and wrote on politics and the history of Scottish and English literature. Gray trained in mural painting, and his Glasgow murals include those in the Hillhead subway station and in the Oran Mor, an arts and music venue at the head of Glasgow's iconic Byres Road. His paintings, drawings and prints are well-known and widely collected. Examples of his paintings, drawings and prints are currently housed in various public collections, including The Victoria and Albert Museum, The Kelvingrove Art Gallery and Museum, The Museum of Modern Art, The Scottish National Gallery of Modern Art, The National Library of Scotland, The Hunterian Museum and The Arts Council of England collection. His art was celebrated in 2014-15 with a major retrospective exhibition at Glasgow's Kelvingrove and in 2014 the BBC aired a one hour documentary to honour the 80th year of this 'giant of Scottish arts'.

* JOHN BYRNE RSA (SCOTTISH 1940 - 2023), HANDS UP offset lithograph on paper framed and under glass image size 36cm x 27cm, overall size 52cm x 42cm Note: John Byrne studied at both Edinburgh and Glasgow Schools of Art in the late 50s and early 60s. A superb painter and draughtsman, the multi-talented Byrne was also a first-class playwright (‘The Slab Boys’, ‘Tutti Frutti’), his ear for dialogue was as acute (and witty) as his eye for detail. Much of his subject matter in both disciplines is overtly autobiographical, he often included or refers to the Teddy Boy/Rock and Roll era of his youth. Byrne designed record covers for Donovan, The Beatles, Gerry Rafferty and Billy Connolly. His work is held in major collections in Scotland and abroad. Several of his paintings hang in The Scottish National Portrait Gallery in Edinburgh, the Museum of Modern Art and the Kelvingrove Art Gallery and Museum in Glasgow.

* JOHN BYRNE RSA (SCOTTISH 1940 - 2023), TABLETOP STILL LIFE WITH CHAIR oil on board, signed framed image size 120cm x 120cm, overall size 138cm x 138cm Provenance: Acquired from John Byrne by June Armstrong (later June Armstrong Lennox) when both were students at Glasgow School of Art. See also lots 206A & 206B. Note: John Byrne studied at both Edinburgh and Glasgow Schools of Art in the late 50s and early 60s. A superb painter and draughtsman, the multi-talented Byrne was also a first-class playwright (‘The Slab Boys’, ‘Tutti Frutti’), his ear for dialogue was as acute (and witty) as his eye for detail. Much of his subject matter in both disciplines is overtly autobiographical, he often included or refers to the Teddy Boy/Rock and Roll era of his youth. Byrne designed record covers for Donovan, The Beatles, Gerry Rafferty and Billy Connolly. His work is held in major collections in Scotland and abroad. Several of his paintings hang in The Scottish National Portrait Gallery in Edinburgh, the Museum of Modern Art and the Kelvingrove Art Gallery and Museum in Glasgow.

* DAVID MARTIN (SCOTTISH b. 1975), AFTER PRAYERS AT THE HARDWARE STORE oil on board, signed and dated '07, titled versomounted, framed and under glassimage size 40cm x 30cm, overall size 56cm x 45cm Note: David Martin won the 2006 RSA Alastair Salvesen Art Scholarship. David is from and based in Edinburgh and graduated with an MA Fine Art from the University of Edinburgh in 2000. He was also the winner of the RSA John Kinross Student Scholarship to Florence in 2001. David took an epic journey through the Middle East and into Europe. "This journey represents the dissemination of ancient alchemical knowledge from Egypt, through the Middle East and into Europe, in order to explore the transforming effects of modern development brought about by technologies such as nuclear development and global communications. Without staying in one place for any length of time, this huge journey provided a range of encounters with cultures undergoing transformation, nations being born and people adapting to new ways of life amid their ancient heritage". His work from this journey was exhibited as a solo exhibition at the Royal Scottish Academy "The Cusp of Change: A Journey Through the Middle East" 16th March - 15th April 2007. Alongside his full-time artistic practice, he is also the Founder and Creative Director of Hidden Door, an organisation set up to generate exciting events to showcase new up-and-coming arts talent in Scotland across different art forms, mainly through staging annual ‘underground’ multi-arts festivals in Edinburgh. He is also the Head of the Foundation Course at Leith School of Art and has previously sat on the council of Visual Arts Scotland. David exhibits at the prestigious Open Eye Gallery in Edinburgh and his most recent solo show there was 3rd - 21st November 2020. David Martin has won numerous major commissions including a huge canvas which dominates the impressive lobby of The Edinburgh Grand (hotel) on St Andrew's Square in the city.

* JOHN BYRNE RSA (SCOTTISH 1940 - 2023), BIG SELFIE offset lithograph on paper framed and under glass image size 35cm x 27cm, overall size 50cm x 42cm Note: John Byrne studied at both Edinburgh and Glasgow Schools of Art in the late 50s and early 60s. A superb painter and draughtsman, the multi-talented Byrne was also a first-class playwright (‘The Slab Boys’, ‘Tutti Frutti’), his ear for dialogue was as acute (and witty) as his eye for detail. Much of his subject matter in both disciplines is overtly autobiographical, he often included or refers to the Teddy Boy/Rock and Roll era of his youth. Byrne designed record covers for Donovan, The Beatles, Gerry Rafferty and Billy Connolly. His work is held in major collections in Scotland and abroad. Several of his paintings hang in The Scottish National Portrait Gallery in Edinburgh, the Museum of Modern Art and the Kelvingrove Art Gallery and Museum in Glasgow.

* DONALD MACDONALD (SCOTTISH b. 1976), WRAP 7 conte on paper, initialled mounted, framed and under glass image size 67cm x 58cm, overall size 95cm x 84cm Note: Donald Macdonald was born on the Isle of Lewis in 1976 and after a short time in the Scottish Infantry he moved to Aberdeen and gained a BA Hons degree in Fine Art. After living and painting in Denmark and Glasgow for several years he returned home to the Isle of Lewis where he is now based. His work is held in various private collections around the UK, in Denmark, Hong Kong, Israel and the USA and in 2009 he was one of only three Scottish artists to feature in the BP Portrait Prize Award Exhibition. He was also the Scottish representative for the Mead Johnson International Exhibition in Evansville, USA. In 2013 he exhibited a commissioned painting in the Imperial War Museum in Manchester and later won a place in the 7th Figurativas painting and sculpture exhibition, held in the European Museum of Modern Art, Barcelona. In 2017 he won the Public Choice Award at the Art Gemini Prize and more recently he has been invited to show at the Columbia Threadneedle Prize (2018), The Lynn Painter Stainers Prize (2019), The Scottish Portrait Awards (2019), The Westmorland Landscape Prize (2019) and The Royal Scottish Academy (2019 & 2020).

* GARRY BRANDER, MIND oil on canvas, signed, titled and dated 2010 versoframedimage size 15cm x 30cm, overall size 20cm x 35cm Note: Garry Brander began his studies in 2005 obtaining his HND in graphic design in 2007, winning several awards including the Trade House of Scotland ‘Best 2D Painting’. He began exhibiting his artwork in and around the west coast of Scotland and shortly after made the decision to attend the Glasgow School of Art. Graduating in 2011 with a BA Honours in Fine Art, he enjoyed a sell-out degree show. Garry spends much of his time painting the highlands and islands of Scotland, particularly the island of Tiree, where his family has lived and worked the old watermill and surrounding crofts for over 500 years. His love of the West Coast has inspired his paintings and living on the islands, learning about remoteness, isolation and the beauty of the beaches and landscapes, has forged the artist he has become. His upbeat and vibrant modern palette raises the viewer’s level of emotional engagement with his paintings and reminds them that Scotland is one of the most beautiful places on earth. Garry Brander’s contemporary artwork is in private collections all over the world and has been exhibited in Art Fairs from New York to London and Amsterdam. He also exhibits with many of Scotland’s best-known galleries and has had many successful solo exhibitions.

* ALASDAIR GRAY (SCOTTISH 1934 - 2019), THE WHITE DOG limited edition silkscreen print on paper, signed, titled, dated 2005 and numbered 40/125framed and under glassimage size 27cm x 20cm, overall size 46cm x 33cm Note: Along with John Byrne, Alasdair Gray has been described as one of the great Polymaths of the Scottish modern arts movement. Prolific writer and artist since graduating from the Glasgow School of Art in 1957. He published novels, short stories, plays, poetry and translations, and wrote on politics and the history of Scottish and English literature. Gray trained in mural painting, and his Glasgow murals include those in the Hillhead subway station and in the Oran Mor, an arts and music venue at the head of Glasgow's iconic Byres Road. His paintings, drawings and prints are well-known and widely collected. Examples of his paintings, drawings and prints are currently housed in various public collections, including The Victoria and Albert Museum, The Kelvingrove Art Gallery and Museum, The Museum of Modern Art, The Scottish National Gallery of Modern Art, The National Library of Scotland, The Hunterian Museum and The Arts Council of England collection. His art was celebrated in 2014-15 with a major retrospective exhibition at Glasgow's Kelvingrove and in 2014 the BBC aired a one hour documentary to honour the 80th year of this 'giant of Scottish arts'.

GWEN HARDIE (SCOTTISH b. 1962), ECA LIFE CLASS oil on canvas, signed versoframedimage size 158cm x 158cm, overall size 159cm x 159cm Comment: An extremely rare early work from Hardie's time at the Edinburgh College of Art. Authenticated by Ms Hardie. The figure in the foreground is understood to be Francis (Frank) Convery RSA.Note: Born and educated in Scotland, Gwen Hardie lived and worked in London and Berlin before settling in New York City in 2000. Her most recent paintings will be presented in the upcoming solo show, “Under a deep orange sun and a pale blue moon” with Arden + White, New Canaan, Nov 15 – Dec 21, 2024 and at “Untitled” Art Fair in Miami, represented by Arden + White in Dec 2024. Recent solo shows include; “Thresholds,” at Dolby Chadwick Gallery, San Francisco, Feb 2024, “Atmosphere”, at the late Estella Gallery in New Orleans in Dec 2023“, “Intimations”, at 57W57 Arts, New York City, March – April 2022 and “Human Boundaries’ , Galerie Pugliese Levi in Berlin, March – May 2022. Hardie’s paintings are shown regularly in Art Fairs in the USA and Europe, such as Future Fair, NYC and Untitled Art Fair, Miami, represented by Arden + White, Enter Art Fair, Copenhagen, The Hague Art Fair, PAN AMSTERDAM and KunstRAI, represented by ASAP Gallery, / Chabot Fine Art in The Hague and the London Art Fair with the Finch Project. Her work is featured in ongoing collaborations with The Spaceless Gallery (based in Paris and Miami), Holly Hunt and The Invisible Collection in New York City. New collaborations with interior designers include US based Chango & Co and Ursino Interiors. She was the youngest living artist ever to be given a solo show at The Scottish National Gallery of Modern Art in Edinburgh in 1994. Hardie’s work is in private and public collections such as The Scottish National Gallery of Modern Art, The Metropolitan Museum of Art, New York, the British Council, London, and the Calouste Gulbenkian Modern Collection, Lisbon. Her work has been reviewed by Visual Art Source, The Semi-Finalist, Art In America, The New York Times, The Glasgow Herald, The New Yorker, The Scotsman, and The Independent among others.. Hardie has received Fellowships at The Bogliasco Foundation, Genoa, Italy, VCCA, MacDowell and Yaddo in the USA.

* JOHN BYRNE RSA (SCOTTISH 1940 - 2023), SATYR limited edition bronze on wooden base, signed and inscribed AP28cm tall Note 1: This work was cast in Edinburgh in an edition of 9, plus 4 Artist Proofs.Note 2: John Byrne studied at both Edinburgh and Glasgow Schools of Art in the late 50s and early 60s. A superb painter and draughtsman, the multi-talented Byrne was also a first-class playwright (‘The Slab Boys’, ‘Tutti Frutti’), his ear for dialogue was as acute (and witty) as his eye for detail. Much of his subject matter in both disciplines is overtly autobiographical, he often included or refers to the Teddy Boy/Rock and Roll era of his youth. Byrne designed record covers for Donovan, The Beatles, Gerry Rafferty and Billy Connolly. His work is held in major collections in Scotland and abroad. Several of his paintings hang in The Scottish National Portrait Gallery in Edinburgh, the Museum of Modern Art and the Kelvingrove Art Gallery and Museum in Glasgow.

* JOHN BYRNE RSA (SCOTTISH 1940 - 2023), SKETCHES FROM 'THE COUNTRY GIRL' mixed media on paper, signed and titled mounted, framed and under glassimage size 45.5cm x 31cm,  overall size 66.5cm x 49cmNote: John Byrne studied at both Edinburgh and Glasgow Schools of Art in the late 50s and early 60s. A superb painter and draughtsman, the multi-talented Byrne was also a first-class playwright (‘The Slab Boys’, ‘Tutti Frutti’), his ear for dialogue was as acute (and witty) as his eye for detail. Much of his subject matter in both disciplines is overtly autobiographical, he often included or refers to the Teddy Boy/Rock and Roll era of his youth. Byrne designed record covers for Donovan, The Beatles, Gerry Rafferty and Billy Connolly. His work is held in major collections in Scotland and abroad. Several of his paintings hang in The Scottish National Portrait Gallery in Edinburgh, the Museum of Modern Art and the Kelvingrove Art Gallery and Museum in Glasgow.

* JOHN BYRNE RSA (SCOTTISH 1940 - 2023), FEG limited edition bronze on marble base, signed and inscribed AP35cm high Note 1: This work was cast in Edinburgh in an edition of 9, plus 4 Artist Proofs.Note 2: John Byrne studied at both Edinburgh and Glasgow Schools of Art in the late 50s and early 60s. A superb painter and draughtsman, the multi-talented Byrne was also a first-class playwright (‘The Slab Boys’, ‘Tutti Frutti’), his ear for dialogue was as acute (and witty) as his eye for detail. Much of his subject matter in both disciplines is overtly autobiographical, he often included or refers to the Teddy Boy/Rock and Roll era of his youth. Byrne designed record covers for Donovan, The Beatles, Gerry Rafferty and Billy Connolly. His work is held in major collections in Scotland and abroad. Several of his paintings hang in The Scottish National Portrait Gallery in Edinburgh, the Museum of Modern Art and the Kelvingrove Art Gallery and Museum in Glasgow.

* JACK KNOX RSA RSW RGI (SCOTTISH 1936 - 2015), HERON FISHING pastel on paper, signed, titled label versomounted, framed and under glassimage size 21cm x 29cm, overall size 42cm x 50cm Label verso: The Open Eye Gallery, EdinburghNote: Painter, draughtsman and teacher, born John Knox at Kirkintilloch, Dunbartonshire. He studied at Glasgow School of Art, 1953–7, where his teachers included William Armour and David Donaldson. In 1958 won a travelling scholarship which enabled him to study in Paris under André Lhote. Knox painted in a variety of styles, being influenced by the American Abstract Expressionists for a time, although on occasion creating still lifes in the manner of the Dutch Old Masters. From 1965–81 Knox taught at Duncan of Jordanstone College of Art, Dundee, in 1981 becoming head of painting at Glasgow College of Art. Took part in many group shows in Scotland and abroad and had a series of one-man exhibitions, including 57 Gallery, Edinburgh; Serpentine Gallery in London; and Civic Arts Centre, Aberdeen. In 1983 a solo show was toured to a number of Scottish venues by the Scottish Arts Council; Drawings 1956–1998 was held by Cyril Gerber Fine Art and Compass Gallery, Glasgow, in 1998. Was elected RSA and has work in many public collections, including Scottish National Gallery of Modern Art, Edinburgh. Lived for some time in Carnoustie, Angus.

* JOHN BYRNE RSA (SCOTTISH 1940 - 2023), UNTITLED mixed media on paper, signedmounted, framed and under glassimage size 29cm x 19cm, overall size 52cm x 40cm Note: John Byrne studied at both Edinburgh and Glasgow Schools of Art in the late 50s and early 60s. A superb painter and draughtsman, the multi-talented Byrne was also a first-class playwright (‘The Slab Boys’, ‘Tutti Frutti’), his ear for dialogue was as acute (and witty) as his eye for detail. Much of his subject matter in both disciplines is overtly autobiographical, he often included or refers to the Teddy Boy/Rock and Roll era of his youth. Byrne designed record covers for Donovan, The Beatles, Gerry Rafferty and Billy Connolly. His work is held in major collections in Scotland and abroad. Several of his paintings hang in The Scottish National Portrait Gallery in Edinburgh, the Museum of Modern Art and the Kelvingrove Art Gallery and Museum in Glasgow.

* JOHN BYRNE RSA (SCOTTISH 1940 - 2023), BLACK mixed media on paper, signedframed and under glassimage size 30cm x 20cm, overall size 47cm x 37cm Note: John Byrne studied at both Edinburgh and Glasgow Schools of Art in the late 50s and early 60s. A superb painter and draughtsman, the multi-talented Byrne was also a first-class playwright (‘The Slab Boys’, ‘Tutti Frutti’), his ear for dialogue was as acute (and witty) as his eye for detail. Much of his subject matter in both disciplines is overtly autobiographical, he often included or refers to the Teddy Boy/Rock and Roll era of his youth. Byrne designed record covers for Donovan, The Beatles, Gerry Rafferty and Billy Connolly. His work is held in major collections in Scotland and abroad. Several of his paintings hang in The Scottish National Portrait Gallery in Edinburgh, the Museum of Modern Art and the Kelvingrove Art Gallery and Museum in Glasgow.

* JOHN BYRNE RSA (SCOTTISH 1940 - 2023), FEEGIE mixed media on paper, signedmounted, framed and under glassimage size 12cm x 25cm, overall size 37cm x 48cm Provenance: The Fine Art Society, EdinburghNote: John Byrne studied at both Edinburgh and Glasgow Schools of Art in the late 50s and early 60s. A superb painter and draughtsman, the multi-talented Byrne was also a first-class playwright (‘The Slab Boys’, ‘Tutti Frutti’), his ear for dialogue was as acute (and witty) as his eye for detail. Much of his subject matter in both disciplines is overtly autobiographical, he often included or refers to the Teddy Boy/Rock and Roll era of his youth. Byrne designed record covers for Donovan, The Beatles, Gerry Rafferty and Billy Connolly. His work is held in major collections in Scotland and abroad. Several of his paintings hang in The Scottish National Portrait Gallery in Edinburgh, the Museum of Modern Art and the Kelvingrove Art Gallery and Museum in Glasgow.

* WILLIAM CROSBIE RSA RGI (SCOTTISH 1915 - 1999), STILL LIFE WITH VASE mixed media on paper, signed and dated XCImounted, framed and under glassimage size 33cm x 22cm, overall size 55cm x 41cm Note: A hugely important figure in Scottish 20th Century art. Of the forty eight examples of his work held in National Collections, Glasgow Museums hold 8, The Hunterian 8, The Scottish National Gallery of Modern Art 5 and multiple examples are held by The National Trust For Scotland, The RSA, Dundee Museums and Galleries, Perth & Kinross, Aberdeen Museum & Galleries, South Ayrshire Council, The Paisley Art Institute and others.

* GEORGE ALEXANDER EUGENE DOUGLAS HAIG, THE EARL HAIG OBE RSA (SCOTTISH 1918 - 2009), DRONNE NEAR LA BARIE watercolour on paper, signed, titled label versomounted, framed and under glass image size 37cm x 54cm, overall size 48cm x 65cm Exhibition label verso: Earl Haig - New Paintings 10 July - 7 August 1993, The Scottish Gallery, EdinburghComment: a spectacular and large example with prestigious documented exhibition provenance.Note: Earl Haig (son of the Field Marshall) started painting as a prisoner of war. The paintings and drawings he made in Colditz Castle were exhibited at The Scottish Gallery in 1945 in an exhibition attended by HM The Queen. He went on to train under Victor Pasmore and Lawrence Gowing at Camberwell School of Art, London when fellow Scot William Johnstone was Principal. He had a distinguished exhibiting career primarily with The Scottish Gallery which spanned over six decades, concluding with his remarkable 90th birthday show in 2008. However, the same prestigious Edinburgh Gallery staged a Memorial show for Haig in 2011 and a major centenary show in 2018. In 2020 another solo show was staged (November - December 2020) by The Scottish Gallery focussing on examples from the Scottish Borders and Italy, where he spent an increasing amount of time from the mid-1970s. Earl Haig's work was shown widely elsewhere in Britain and on the continent, latterly including Clarges Gallery and Gallery 10, London. His work held in the collections of HM The Queen and other members of the Royal family, Scottish National Gallery of Modern Art and further public and notable corporate collections. Earl Haig was a member of the Scottish Arts Council and of the Royal Fine Art Commission for Scotland and a Trustee of the National Galleries of Scotland. As a landscape painter he was fond of simple, almost naïve images infused with a rich palette. Lived in Bemersyde, Melrose, Scotland.

* ALAN DAVIE CBE RA HRSA RWA (SCOTTISH 1920 - 2014) MAGIC PICTURE NO. 1 limited edition lithograph on paper, signed and numbered 299/500framed and under glassimage size 55cm x 75cm, overall size 95cm x 85cm Note: Scottish painter, trained as a painter at Edinburgh College of Art from 1938 to 1940, initially favouring poetic imagery and coming into contact with modernism at exhibitions held in London of works by Picasso (1945; V&A) and Paul Klee (1945; Tate). He explored a diverse range of activities, however, before returning to painting from 1949 to 1953 he earned his living by making jewellery and in 1947 he worked as a jazz musician, an activity he continued in later life. He wrote poetry during the early 1940s. From 1953 to 1956 Davie taught in London at the Central School of Arts and Crafts, where he became interested in African and Pacific art. As early as 1958 Davie emphasised the importance in his work of intuition, as expressed in the form of enigmatic signs. During the 1960s, both in paintings and in coloured lithographs, he represented such images with increasing clarity at the expense of gestural handling. In 1971 he made his first visit to the island of St Lucia, where he began to spend half of each year and which brought Caribbean influences to bear on his suggestive imagery, as in Bird Gong No. 10, Opus 730 (1973; London, Brit. Council). Taking on the role of a disinherited shaman, Davie created a synthesis of mythologies from a variety of cultures for a modern civilisation devoid of its own village myths.

* WILLIAM CROSBIE RSA RGI (SCOTTISH 1915 - 1999), STILL LIFE watercolour on paper, signed and dated XCImounted, framed and under glassimage size 39cm x 26cm, overall size 68cm x 54cm Note: A hugely important figure in Scottish 20th Century art. Of the forty eight examples of his work held in National Collections, Glasgow Museums hold 8, The Hunterian 8, The Scottish National Gallery of Modern Art 5 and multiple examples are held by The National Trust For Scotland, The RSA, Dundee Museums and Galleries, Perth & Kinross, Aberdeen Museum & Galleries, South Ayrshire Council, The Paisley Art Institute and others.

* JOCK MCFADYEN RA (SCOTTISH b. 1950), TREVOR colour etching on paper, signed, titled and numbered 15/15, from the 'Canal Suite'mounted, framed and under glassimage size 50cm x 40cm, overall size 82cm x 63cm Handwritten label versoLabel verso: William Jackson Gallery, LondonNote: Jock McFadyen was born in Paisley in 1950 and moved to England aged 15 in 1966. He gained his BA and MA from Chelsea School of Art which he attended from 1973 to 1977. His first solo show was held at the Acme Gallery in London in 1978. Since then he has had over 40 solo exhibitions including at the National Gallery (residency show), Camden Arts Centre, the Imperial War Museum, Manchester Art Gallery, Kelvingrove Art Gallery and Museum, Talbot Rice (Edinburgh Festival) and the Pier Art Centre (St Magnus Festival). His work has been included in many mixed exhibitions in the UK and abroad including John Moores, Hayward Annual and The British Art Show. In 1981 McFadyen was appointed Artist in Residence at the National Gallery, London and a decade later he was invited to design sets and costumes for Sir Kenneth MacMillan’s last ballet, The Judas Tree (1992) at the Royal Opera House, Covent Garden. McFadyen was elected to The Royal Academy of Arts in 2012 and in 2019 was coordinator of that year’s Summer Exhibition. Starting in 2020, 4 solo exhibitions were held to celebrate McFadyen’s 70th birthday: Jock McFadyen Goes to the Pictures (City Art Centre, Edinburgh); Jock McFadyen: Lost Boat Party (Dovecot Studios, Edinburgh); Jock McFadyen Goes to The Lowry: A Retrospective (The Lowry, Salford) and in 2022, Jock McFadyen: Tourist without a Guidebook, Royal Academy, London. McFadyen’s work is held in 40 public museum collections including Tate, the National Gallery, the V&A, the British Museum and the Scottish National Gallery of Modern Art as well as many corporate and private collections in the UK and abroad. McFadyen lives and works in London, Edinburgh and France.

* GARRY BRANDER, GLENCOE oil on canvas, signed, titled and dated 2010 versoframedimage size 15cm x 30cm, overall size 30cm x 35cm Note: Garry Brander began his studies in 2005 obtaining his HND in graphic design in 2007, winning several awards including the Trade House of Scotland ‘Best 2D Painting’. He began exhibiting his artwork in and around the west coast of Scotland and shortly after made the decision to attend the Glasgow School of Art. Graduating in 2011 with a BA Honours in Fine Art, he enjoyed a sell-out degree show. Garry spends much of his time painting the highlands and islands of Scotland, particularly the island of Tiree, where his family has lived and worked the old watermill and surrounding crofts for over 500 years. His love of the West Coast has inspired his paintings and living on the islands, learning about remoteness, isolation and the beauty of the beaches and landscapes, has forged the artist he has become. His upbeat and vibrant modern palette raises the viewer’s level of emotional engagement with his paintings and reminds them that Scotland is one of the most beautiful places on earth. Garry Brander’s contemporary artwork is in private collections all over the world and has been exhibited in Art Fairs from New York to London and Amsterdam. He also exhibits with many of Scotland’s best-known galleries and has had many successful solo exhibitions.

* WILLIAM CROSBIE RSA RGI (SCOTTISH 1915 - 1999), FLOWERS IN A BLUE VASE mixed media on paper, signed and dated XCImounted, framed and under glass image size 36cm x 28cm, overall size 50cm x 42cm Label verso: The Scottish Gallery, EdinburghNote: A hugely important figure in Scottish 20th Century art. Of the forty eight examples of his work held in National Collections, Glasgow Museums hold 8, The Hunterian 8, The Scottish National Gallery of Modern Art 5 and multiple examples are held by The National Trust For Scotland, The RSA, Dundee Museums and Galleries, Perth & Kinross, Aberdeen Museum & Galleries, South Ayrshire Council, The Paisley Art Institute and others.

* JOHN BYRNE RSA (SCOTTISH 1940 - 2023), FACE TO FACE mixed media on paper, initialledmounted, framed and under glassimage size 29cm x 20cm, overall size 51cm x 40cm Note: John Byrne studied at both Edinburgh and Glasgow Schools of Art in the late 50s and early 60s. A superb painter and draughtsman, the multi-talented Byrne was also a first-class playwright (‘The Slab Boys’, ‘Tutti Frutti’), his ear for dialogue was as acute (and witty) as his eye for detail. Much of his subject matter in both disciplines is overtly autobiographical, he often included or refers to the Teddy Boy/Rock and Roll era of his youth. Byrne designed record covers for Donovan, The Beatles, Gerry Rafferty and Billy Connolly. His work is held in major collections in Scotland and abroad. Several of his paintings hang in The Scottish National Portrait Gallery in Edinburgh, the Museum of Modern Art and the Kelvingrove Art Gallery and Museum in Glasgow.

* DAVID BOMBERG (BRITISH 1890 - 1957), PORTRAIT OF A GENTLEMAN oil on canvas, signed and dated '42framedimage size 60cm x 49cm, overall size 80cm x 69cm Provenance: Arthur A. Stambois, Private Collection Stanley Mann, Private Collection (purchased from the above in 1961) By descent to his wife, Eithne Maureen Mann (nee Milne), Private Scottish Collection.Note 1: One of the most important and influential British artists at work in the twentieth century, David Bomberg was born in Birmingham in 1890. Initially studying art in London at the City and Guilds, David Bomberg was to study under the highly respected Walter Sickert at the Westminster School of Art, subsequently gaining a place at the Slade School of Art. It was here that David studied under the famous Henry Tonks, alongside such soon-to-be-famous names as Stanley Spencer, Ben Nicholson and Paul Nash. The Slade was hugely important in the development of David’s work, but that didn’t prevent him from expulsion in the summer of 1913. Flirting, rather acrimoniously, with the Bloomsbury Group, David was to eventually form ties with the Camden Town Group, subsequently becoming a founding contributor to the London Group in 1914. After returning from active service in the First World War, David Bomberg took on a number of teaching positions, no less notable than his leading role in the Borough Group, where he was to teach and become a driving influence of a young Frank Auerbach. What followed was to become recognised as David’s “golden era” of work. Spells living abroad in Spain were to inspire some of his most well regarded works. David died in Spain in 1957, leaving a body of work and influence that is as relevant today as it was then. Following his death, David’s reputation continued to grow, with many retrospective exhibitions held, including at the Tate in 1988. David Bomberg is rightfully regarded as one of the leading lights of the twentieth century Modern British art world, and arguably one with the greatest influence on generations of artists to follow.Note 2: The face in the “Portrait of a Gentleman”, is unknown but shows a warmer in colour and sense of energy. The handkerchief thrusts out of his pocket with a sense of purpose or perhaps importance. The pale pigment applied so freely around his head adds to this feeling, and there may even be a hint of a smile in the curve of his lips. Perhaps he is sharing a joke with Bomberg, but the light heartedness ultimately seems fleeting. Bomberg was appointed Official war artist during the second world war and only completed one commission “”Underground Bomb Store 1942”, given that this portrait was completed in the same year there could be a connection to the artist in this role.

* JOHN BYRNE RSA (SCOTTISH 1940 - 2023), SELF PORTRAIT charcoal on paper, signed, titled versoframed and under glass image size 29cm x 21cm, overall size 56cm x 48cm Label verso: Lemon Street GalleryNote: John Byrne studied at both Edinburgh and Glasgow Schools of Art in the late 50s and early 60s. A superb painter and draughtsman, the multi-talented Byrne was also a first-class playwright (‘The Slab Boys’, ‘Tutti Frutti’), his ear for dialogue was as acute (and witty) as his eye for detail. Much of his subject matter in both disciplines is overtly autobiographical, he often included or refers to the Teddy Boy/Rock and Roll era of his youth. Byrne designed record covers for Donovan, The Beatles, Gerry Rafferty and Billy Connolly. His work is held in major collections in Scotland and abroad. Several of his paintings hang in The Scottish National Portrait Gallery in Edinburgh, the Museum of Modern Art and the Kelvingrove Art Gallery and Museum in Glasgow.

* WILLIAM CROSBIE RSA RGI (SCOTTISH 1915 - 1999), CLYDE ESTUARY oil on board, signed and dated LXXXunframed Handwritten label versoNote: A hugely important figure in Scottish 20th Century art. Of the forty eight examples of his work held in National Collections, Glasgow Museums hold 8, The Hunterian 8, The Scottish National Gallery of Modern Art 5 and multiple examples are held by The National Trust For Scotland, The RSA, Dundee Museums and Galleries, Perth & Kinross, Aberdeen Museum & Galleries, South Ayrshire Council, The Paisley Art Institute and others.

* JOHN BYRNE RSA (SCOTTISH 1940 - 2023), PORTRAIT ink on paper mounted, framed and under glass image size 21cm x 17cm, overall size 46cm x 42cm Provenance: Acquired from John Byrne by June Armstrong (later June Armstrong Lennox) when both were students at Glasgow School of Art. See also lots 206 & 206A. Note: John Byrne studied at both Edinburgh and Glasgow Schools of Art in the late 50s and early 60s. A superb painter and draughtsman, the multi-talented Byrne was also a first-class playwright (‘The Slab Boys’, ‘Tutti Frutti’), his ear for dialogue was as acute (and witty) as his eye for detail. Much of his subject matter in both disciplines is overtly autobiographical, he often included or refers to the Teddy Boy/Rock and Roll era of his youth. Byrne designed record covers for Donovan, The Beatles, Gerry Rafferty and Billy Connolly. His work is held in major collections in Scotland and abroad. Several of his paintings hang in The Scottish National Portrait Gallery in Edinburgh, the Museum of Modern Art and the Kelvingrove Art Gallery and Museum in Glasgow.

* ALASDAIR GRAY (SCOTTISH 1934 - 2019), FROM AN EASTERN EMPIRE limited edition silkscreen print on paper, signed, dated 2006 and numbered 29/90framed and under glassimage size 37cm x 25cm, overall size 60cm x 41cm Note: Along with John Byrne, Alasdair Gray has been described as one of the great Polymaths of the Scottish modern arts movement. Prolific writer and artist since graduating from the Glasgow School of Art in 1957. He published novels, short stories, plays, poetry and translations, and wrote on politics and the history of Scottish and English literature. Gray trained in mural painting, and his Glasgow murals include those in the Hillhead subway station and in the Oran Mor, an arts and music venue at the head of Glasgow's iconic Byres Road. His paintings, drawings and prints are well-known and widely collected. Examples of his paintings, drawings and prints are currently housed in various public collections, including The Victoria and Albert Museum, The Kelvingrove Art Gallery and Museum, The Museum of Modern Art, The Scottish National Gallery of Modern Art, The National Library of Scotland, The Hunterian Museum and The Arts Council of England collection. His art was celebrated in 2014-15 with a major retrospective exhibition at Glasgow's Kelvingrove and in 2014 the BBC aired a one hour documentary to honour the 80th year of this 'giant of Scottish arts'.

* JOHN BYRNE RSA (SCOTTISH 1940 - 2023), UNTITLED (FACE) mixed media on board, signedframed and under glassimage size 30cm x 51cm, overall size 48cm x 70cm Note: John Byrne studied at both Edinburgh and Glasgow Schools of Art in the late 50s and early 60s. A superb painter and draughtsman, the multi-talented Byrne was also a first-class playwright (‘The Slab Boys’, ‘Tutti Frutti’), his ear for dialogue was as acute (and witty) as his eye for detail. Much of his subject matter in both disciplines is overtly autobiographical, he often included or refers to the Teddy Boy/Rock and Roll era of his youth. Byrne designed record covers for Donovan, The Beatles, Gerry Rafferty and Billy Connolly. His work is held in major collections in Scotland and abroad. Several of his paintings hang in The Scottish National Portrait Gallery in Edinburgh, the Museum of Modern Art and the Kelvingrove Art Gallery and Museum in Glasgow.

* JOHN BYRNE RSA (SCOTTISH 1940 - 2023), SELF PORTRAIT IN GOLD TINTED GLASSES offset lithograph on paper framed and under glass image size 36cm x 24cm, overall size 52cm x 39cm Note: John Byrne studied at both Edinburgh and Glasgow Schools of Art in the late 50s and early 60s. A superb painter and draughtsman, the multi-talented Byrne was also a first-class playwright (‘The Slab Boys’, ‘Tutti Frutti’), his ear for dialogue was as acute (and witty) as his eye for detail. Much of his subject matter in both disciplines is overtly autobiographical, he often included or refers to the Teddy Boy/Rock and Roll era of his youth. Byrne designed record covers for Donovan, The Beatles, Gerry Rafferty and Billy Connolly. His work is held in major collections in Scotland and abroad. Several of his paintings hang in The Scottish National Portrait Gallery in Edinburgh, the Museum of Modern Art and the Kelvingrove Art Gallery and Museum in Glasgow.