[av_heading heading=’Scottish art enjoyed moment in the sun at Lyon and Turnbull sale’ tag=’h1′ style=” subheading_active=” show_icon=” icon=’ue800′ font=’entypo-fontello’ size=” av-desktop-font-size-title=” av-medium-font-size-title=” av-small-font-size-title=” av-mini-font-size-title=” subheading_size=” av-desktop-font-size=” av-medium-font-size=” av-small-font-size=” av-mini-font-size=” icon_size=” av-desktop-font-size-1=” av-medium-font-size-1=” av-small-font-size-1=” av-mini-font-size-1=” color=” custom_font=” subheading_color=” seperator_color=” icon_color=” margin=’,,35px,’ av-desktop-margin=” av-desktop-margin_sync=’true’ av-medium-margin=” av-medium-margin_sync=’true’ av-small-margin=’,,20px,’ av-mini-margin=” av-mini-margin_sync=’true’ headline_padding=” headline_padding_sync=’true’ av-desktop-headline_padding=” av-desktop-headline_padding_sync=’true’ av-medium-headline_padding=” av-medium-headline_padding_sync=’true’ av-small-headline_padding=” av-small-headline_padding_sync=’true’ av-mini-headline_padding=” av-mini-headline_padding_sync=’true’ padding=’10’ av-desktop-padding=” av-medium-padding=” av-small-padding=” av-mini-padding=” icon_padding=’10’ av-desktop-icon_padding=” av-medium-icon_padding=” av-small-icon_padding=” av-mini-icon_padding=” link=” link_target=” title_attr=” id=” custom_class=” template_class=” av_uid=’av-lqauudg3′ sc_version=’1.0′ admin_preview_bg=”][/av_heading]

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EDINBURGH, U.K. — Bidders were transported to the south of France by way of the Scottish Colourists at Lyon & Turnbull on December 7. The firm’s bi-annual sale of Scottish Paintings & Sculpture was one of the best on record, with sun-kissed oils by Francis Campbell Boileau Cadell and George Leslie Hunter contributing to a total of more than £1.95 million ($2.4 million). The selling rate across the 170 lots hit an impressive 94%. Complete results are available at LiveAuctioneers.

Unseen in public for close to a century, Cassis, le Port by Francis Cadell (1883-1937) sailed away to bring £230,000 ($291,800 or $379,345 with buyer’s premium). Dating from the heyday of Cadell’s career, in the early 1920s, it brilliantly captures the vibrancy of one of the south of France’s most beautiful waterfronts.

Cadell first traveled to Cassis in 1923 and returned in 1924, likening the region to his beloved Iona – but with better weather. Writing from the Hotel Panorama to his patron George Chiene, he said: “This place has several points in common with Iona. The colour and formation of headlands etc and to some extent the sea … instead of, as in Iona, painting against time and trying to get finished before the next squall of rain, I can work as long as I feel disposed on one thing.”

Cadell exhibited and sold his paintings of Cassis to great success, selling 10 pictures in 1923 for prices from £30 to £50 each. The oil-on-panel Cassis, le Port was on the market for the first time since it was acquired by a private collector in Glasgow between the wars. It sold comfortably above the top estimate of £200,000 ($256,000).

John Maclaughlan Milne (1885-1957) is often dubbed the ‘Fifth Colourist’ and it is in his French paintings that the clear link with his better-known contemporaries is made. Wine Boats, St. Tropez is a particularly fine example of Maclauchlan Milne’s work in the French riviera. He painted here regularly from 1919 until 1932, returning to his base in Dundee to exhibit and sell his works. The quay-side scene was acquired directly from the artist by Jack Lipsey of Glasgow in 1956 and came by descent to the present owner. Estimated at £40,000-£60,000 ($50,600-$75,900), it took £75,000 ($95,150 or $123,700 with buyer’s premium).

A striking prime period still life by Samuel John Peploe (1871-1935) sold just under its estimate for £180,000 ($228,360 or $299,160 with buyer’s premium).  Still Life with Tulips dates from the immediate post-war period between 1918 and 1923, before Peploe settled into the rose still lifes which he painted, exhibited and sold in great numbers during the 1920s. He chose to depict this arrangement — a fan, a glass vase and the red, yellow and lilac blooms he bought from stalls on Edinburgh’s Princes Street — in front of a sheer black background. Bold in technique, color and design, it was particularly admired for some superb passages — particularly the rendering of the translucency of water in the vase and its reflection of the artist’s studio beyond.

One of the most eagerly-contested pictures in the sale was Girl with Fan by William Strang (1859-1921), a portrait study in gold, purple, pink and green that was at once truthful to its subject, highly stylish and enigmatic in atmosphere. Strang did not always name his sitters, but the subject here is thought to be his daughter Nancy who, the following year, posed for his famous work The Opera Cloak. Last sold in 2014 when it brought £16,000 at McTears in Glasgow, Scotland, it reappeared here with an estimate of £15,000-£20,000 and took £43,000 ($54,555 or $71,460 with buyer’s premium) — a new auction record for the artist.

Works by Glasgow native Bessie MacNicol — who died in childbirth in 1904 — are represented in multiple public collections but are rare on the market. The Lilac Sunbonnet, a highly assured 1899 oil on canvas of a fresh-faced farm girl dressed in light flowing fabrics, was painted when MacNicol had acquired a studio on St. Vincent Street in Glasgow and was earning favorable comparisons with her male contemporaries. At her funeral, the all-male Glasgow Art Club members’ tribute praised her as ‘a true artist’ while in in his 1908 book, Scottish Painting Past and Present, James Caw, director of the National Galleries of Scotland, called MacNicol ‘probably the most accomplished lady-artist that Scotland has yet produced.’ The Lilac Sunbonnet became one of the top-priced pictures by the artist, selling at £44,000 ($55,825 or $73,125 with buyer’s premium).

Among the earlier, more traditional Scottish pictures, head of sale Nick Curnow noted strong demand for portraits. Works by both Sir Henry Raeburn (1756-1823) and Allan Ramsay (1713-84) performed well, with Ramsay’s pair of half-length profile portraits of George III and Queen Charlotte selling some distance above the estimate at £62,000 ($78,660 or $103,040 with buyer’s premium).

Ramsay had befriended a young Prince of Wales in 1757 with a portrait deemed so life-like and accurate that a life-long association developed. This pair of pendant portraits were commissioned around 1761 (the year of George III’s coronation) for use in designing coinage for the British Empire. Only three versions are known.

The new king is presented in dignified regal splendor, his hand placed inside his gold-embroidered jacket. Queen Charlotte is equally refined in scarlet, lace and pearls. Recently arrived from Germany, she rests her arm on a volume of David Hume’s 1757 History of Britain, assuring her subjects of her preparedness for the British crown.
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Francis Cadell, ‘Cassis, le Port,’ which sold for £230,000 ($291,800 or $379,345 with buyer’s premium) at Lyon & Turnbull.
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John Maclaughlan Milne, ‘Wine Boats, St. Tropez,’ which sold for £75,000 ($95,150 or $123,700 with buyer’s premium) at Lyon & Turnbull.
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Allan Ramsay, half-length profile portraits of George III and Queen Charlotte, which sold for £62,000 ($78,660 or $103,040 with buyer’s premium) at Lyon & Turnbull.
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Samuel John Peploe, ‘Still Life with Tulips,’ which sold for £180,000 ($228,360 or $299,160 with buyer’s premium) at Lyon & Turnbull.
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William Strang, ‘Girl with Fan,’ which sold for £43,000 ($54,555 or $71,460 with buyer’s premium) at Lyon & Turnbull.
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Bessie MacNicol, ‘The Lilac Sunbonnet,’ which sold for £44,000 ($55,825 or $73,125 with buyer’s premium) at Lyon & Turnbull.
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