Three Roman portrait busts head to market at Lyon and Turnbull March 21

Roman Trajanic marble bust of Pompeia Plotina, which hammered for £600,000 ($767,360) and sold for £780,000 ($988,120) with buyer’s premium at Lyon & Turnbull.

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EDINBURGH, UK – Three larger-than-life-size Roman portrait busts with an 18th-century provenance linked to Cobham Hall in Kent, England will appear at Lyon & Turnbull this month. They form part of the firm’s first designated sale of Classical Ancient Art on Thursday, March 21.

The trio of massive second century heads come by descent from John Bligh, 4th Earl of Darnley (1767-1831), the Lord of the Manor of Cobham. A noted amateur cricketer who made at least 27 appearances in first-class cricket matches between 1789 and 1796, he employed the architect James Wyatt to remodel the interiors at Cobham Hall. The sculptures, each now placed on a 19th-century stand, remained in situ until the house changed hands in 1957. They were part of a sale held by Sotheby’s in London in July 1957.

In chronological order, and leading the group at £25,000-£35,000 ($31,990-$44,785), is a 3ft 3in (97cm) bust of Pompeia Plotina circa 110-120 AD. Born around 70 AD, she assumed the role of empress consort when Trajan rose through the ranks of the Roman military to become emperor in 98 AD. Although she eschewed many of the trappings of power and luxury often associated with imperial life, she is shown here as an idealized beauty with an elaborate coiffure and corkscrew fringe, and a palla draped over the back of her head and over her shoulders.

Trajan was conservative in nature, and Trajanic portrait sculpture was idealized to accentuate Roman virtues. With changing artistic sensibilities and philosophical trends, far more naturalism emerged during the reign of his successor, Hadrian. This is observed in a sensitively rendered bust of an older aristocratic lady of the middle Hadrianic period, circa 125-130 AD. The bust portrait is estimated at £20,000-£30,000 ($25,590-$38,385).

In 138 AD Antoninus Pius would succeed Hadrian as emperor, and his wife Faustina the Elder was granted the title of Augusta by the Senate. A highly idealized and rejuvenated image of the empress in the guise of the goddess Hera, dated to around 135-140 AD, is estimated at £25,000-£35,000 ($31,990-$44,785).

Numbering a select 16 lots, the inaugural Classical Ancient Art auction at Lyon & Turnbull features a range of ancient works of art and sculpture from several private collections. Two exceptional Apulian volute kraters (here and here) dating to circa 340 BC have been in a U.K. family collection since the first half of the 20th century. They carry estimates of £40,000-£60,000 each ($51,185-$76,775).

Decorated with mythological narratives and scenes from domestic life in the Ornate Style, in the words of Arthur Dale Trendall, co-author of the 1991 book The Red-Figured Vases of Apulia, they feature “perhaps the most elaborate naiskos scenes from the entirety of ancient Apulian pottery”. They are among the finest surviving work by an artist known as the White Saccos Painter, who worked in one of the Greek colonies in Southern Italy, probably at Canosa, in the late 300s BC. His or her innovative technique involved applying white slip to the ceramic surface before painting.
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One of two Apulian volute kraters dated circa 340 BC and attributed to the White Saccos Painter, estimated at £40,000-£60,000 ($51,185-$76,775) each at Lyon & Turnbull.
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Roman larger-than-life-size Trajanic marble bust of Pompeia Plotina, estimated at £25,000-£35,000 ($31,990-$44,785) at Lyon & Turnbull.
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Roman larger-than-life-size Antonine marble bust of Faustina the Elder, estimated at £25,000-£35,000 ($31,990-$44,785) at Lyon & Turnbull.
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Roman larger-than-life-size Hadrianic marble bust of a lady, estimated at £20,000-£30,000 ($25,590-$38,385) at Lyon & Turnbull.
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English 18th-century feminist tract exceeded $26K at Lyon and Turnbull

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EDINBURGH, Scotland — An exceptionally rare first edition of an early feminist text sold for £16,000 ($26,485 with buyer’s premium) at Lyon & Turnbull’s Rare Books, Manuscripts, Maps & Photographs auction on February 7. In A Letter to the Women of England on the injustice of Mental Subordination published in 1799, Mary Robinson argues for the intellectual liberation of women: “is not woman a human being, gifted with all the feelings that inhabit the bosom of man?”

Robinson, later called ‘the English Sappho’, was all too familiar with the patriarchal constraints of her era. As an actress, she had caught the attention of the Prince of Wales, future George IV, and agreed to an offer of £20,000 to become his mistress. After spoiling her reputation and ending her career in the theater, he then refused to pay the promised amount.

In this first edition, she wrote under the pseudonym Anne Frances Randall. In the second edition, Robinson used her own name and placed an advertisement at the start revealing her identity. This, one of only five known first edition copies, was sold in its contemporary quarter calf (the front cover now detached) well above its £300-£500 ($375-$630) estimate.

A cache of material from the Stevenson family – designers across four generations of many of the U.K.’s lighthouses – provided the sale with a specialist focus. Robert Stevenson (1772-1850), the grandfather of Treasure Island author Robert Louis Stevenson, built 19 lighthouses in an impressive career that began with the erection of the Little Cumbrae lighthouse in Ayrshire when he was just 19 years old. His masterpiece was the Bell Rock Lighthouse, constructed off the coast of Arbroath between 1807-10, which is the oldest working rock lighthouse in the United Kingdom.

Through 28 hand-drawn and colored illustrations, a manuscript titled Signals from the Bell Rock Lighthouse to the Arbroath Signal Tower demonstrates the workings of its communication system. The main methods of signaling were via colored flags and large copper balls that were raised to indicate all was well. It was estimated at £1,200-£1,800 ($1,515-$2,270) but sold at £5,500 ($9,095 with buyer’s premium).

As befitting a family of Scottish civil engineers, the works of architect Robert Adam were prominent in the Stevenson family library. A first edition of one of Adam’s most influential books, his 1764 Ruins of the Palace of the Emperor Diocletian at Spalatro in Dalmatia, including 61 numbered engraved plates, sold at £4,400 ($5,765 with buyer’s premium) against an estimate of £3,000-£5,000 ($3,785-$6,315).

Sold at £6,500 ($10,750 with buyer’s premium) against an estimate of £3,000-£5,000 ($3,785-$6,315) was a November 1566 second issue copy of The Actis and Constitutionnis of the Realme of Scotland, the first collected edition of all public Scottish acts of parliament since 1424. Commissioned by Mary Queen of Scots in a year of crisis, a first edition was printed in October 1566 with a second issue rushed out a month later with several pieces of anti-Protestant legislation removed.

The ‘Black Acts,’ as they became known on account of the gothic typeface, are remarkable for a reason unintended by the compilers. They contain the first printed references to golf and football in a succession of acts intended to prevent Scots from neglecting their military duties.

As indicated by various inscriptions, this copy was acquired in 1730 by by Alexander Boswell, a leading judge, later remembered by Sir Walter Scott as ‘an able lawyer, a good scholar, after the manner of Scotland, and … a strict presbyterian and whig of the old Scottish cast.’

A letter penned on September 28, 1589, by James VI of Scotland (the future James I of England) seeking news on the progress of his marriage to Anne of Denmark sold at £4,800 ($7,935 with buyer’s premium) against an estimate of £3,000-£5,000 ($3,785-$6,315). Letters entirely in James’s hand are very rare, with this one written in broad Scots to George Keith, the 4th Earl Marischal and the magnate charged with securing the Danish match. In its seven lines, he references ‘the contrairiousness of the windes’ — the recurrent storms preventing the embassy’s return to Scotland he would later become convinced were the work of a treasonous coven of witches.
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‘A Letter to the Women of England on the injustice of Mental Subordination,’ which sold for £16,000 ($26,485 with buyer’s premium) at Lyon & Turnbull.
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‘Signals from the Bell Rock Lighthouse to the Arbroath Signal Tower,’ which sold for £5,500 ($9,095 with buyer’s premium) at Lyon & Turnbull.
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James VI and I (1566-1625), King of Scotland, England and Ireland signed autograph letter, which sold for £4,800 ($7,935 with buyer’s premium) at Lyon & Turnbull.
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[av_slide slide_type=’image’ id=’184164′ video=’https://’ mobile_image=” fallback_link=’https://’ title=” video_ratio=’16:9′ custom_title_size=” av-desktop-font-size-title=” av-medium-font-size-title=” av-small-font-size-title=” av-mini-font-size-title=” custom_size=” av-desktop-font-size=” av-medium-font-size=” av-small-font-size=” av-mini-font-size=” font_color=” custom_title=” custom_content=” heading_tag=” heading_class=” link_apply=’image’ link=’manually,https://www.liveauctioneers.com/item/169880614_adam-robert-ruins-of-the-palace-of-the-emperor-diocletian-at-spalatro-in-dalmatia’ link_target=’_blank’ av_uid=’av-el09gv4′ sc_version=’1.0′ video_autoplay=” video_controls=” video_mute=” video_loop=”]
‘Ruins of the Palace of the Emperor Diocletian at Spalatro in Dalmatia,’ which sold for £4,400 ($5,765 with buyer’s premium) at Lyon & Turnbull.
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[av_slide slide_type=’image’ id=’184167′ video=’https://’ mobile_image=” fallback_link=’https://’ title=” video_ratio=’16:9′ custom_title_size=” av-desktop-font-size-title=” av-medium-font-size-title=” av-small-font-size-title=” av-mini-font-size-title=” custom_size=” av-desktop-font-size=” av-medium-font-size=” av-small-font-size=” av-mini-font-size=” font_color=” custom_title=” custom_content=” heading_tag=” heading_class=” link_apply=’image’ link=’manually,https://www.liveauctioneers.com/item/169880784_boswell-alexander-lord-auchinleck-1707-1782-his-copy-the-actis-and-constitutionnis-of-the-realm’ link_target=’_blank’ av_uid=’av-5twljz4′ sc_version=’1.0′ video_autoplay=” video_controls=” video_mute=” video_loop=”]
‘The Actis and Constitutionnis of the Realme of Scotland,’ which sold for £6,500 ($10,750 with buyer’s premium) at Lyon & Turnbull.
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Celebration of Scottish engineering on display at Lyon & Turnbull Feb. 7

‘Signals from the Bell Rock Lighthouse to the Arbroath Signal Tower’, a 19th-century manuscript estimated at £1,200-£1,800 ($1,525-$2,290) at Lyon & Turnbull.

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EDINBURGH – A cache of material from a well-known Scottish engineering dynasty will be offered at Lyon & Turnbull. The Rare Books, Manuscripts, Maps & Photographs auction on Wednesday, February 7 includes 50 lots from the Stevenson family – designers across four generations of many of the U.K.’s lighthouses. Absentee and Internet live bidding will be available through LiveAuctioneers.

Robert Stevenson (1772-1850), the grandfather of Treasure Island author Robert Louis Stevenson, built 19 lighthouses in a remarkable career that began with the construction of the Little Cumbrae lighthouse in Ayrshire at just 19. His masterpiece was the Bell Rock Lighthouse constructed off the coast of Arbroath between 1807 and 1810 that is the oldest working rock lighthouse in the United Kingdom.

Through 28 hand-drawn and -colored illustrations, a manuscript titled Signals from the Bell Rock Lighthouse to the Arbroath Signal Tower demonstrates the workings of its communication system. The main methods of signalling were via colored flags and large copper balls that were raised to indicate all was well. The manuscript is estimated at £1,200-£1,800 ($1,525-$2,290).

As befitting a family of Scottish civil engineers, the works of architect Robert Adam were prominent in the Stevenson family library. The sale is led at £7,000-£10,000 ($8,910-$12,725) by a group of presentation drawings from the Adam studio created for Joseph Home Esq. of Ninewells House on the Scottish Borders. The three pen with gray ink wash drawings showing different elevations of the property are signed ‘Robt. Adam Archt. 1790’ to the lower left corner, although they are thought to be by another hand.

A first edition of one of Adam’s most influential books, his 1764 Ruins of the Palace of the Emperor Diocletian at Spalatro in Dalmatia, including 61 numbered and engraved plates, is estimated at £3,000-£5,000 ($3,815-$6,360).

David Alan Stevenson (1891-1971) was the last of the Stevenson lighthouse engineers – and a keen collector of maps and atlases from the 1920s. His library included copies of the first Latin edition of Sebastian Münster’s Cosmographiae Universalis (1572) and a 1653 printing of the first volume of the Novus Atlas, sive Theatrum Orbis Terrarum by Jan Janssonius. Both carry estimates of £3,000-£5,000 ($3,815-$6,360).

Estimated at £3,000-£4,000 ($3,815-$5,090) is a 1592 Cologne printing of Jani Bussemcher’s Europae Totius Orbis Terrarum, featuring 40 hand-colored maps in contemporary vellum.

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‘Signals from the Bell Rock Lighthouse to the Arbroath Signal Tower’, a 19th-century manuscript estimated at £1,200-£1,800 ($1,525-$2,290) at Lyon & Turnbull.
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One of three drawings for Ninewells House, for Joseph Home from the office of Robert Adam, estimated at £7,000-£10,000 ($8,910-$12,725) at Lyon & Turnbull.
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‘Ruins of the Palace of the Emperor Diocletian at Spalatro in Dalmatia’ by Robert Adam, estimated at £3,000-£5,000 ($3,815-$6,360) at Lyon & Turnbull.
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1592 Cologne printing of ‘Europae Totius Orbis Terrarum’ by Jani Bussemcher, estimated at £3,000-£4,000 ($3,815-$5,090) at Lyon & Turnbull.
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Volume 1 of the ‘Novus Atlas, sive Theatrum Orbis Terrarum’ by Jan Janssonius, estimated at £3,000-£5,000 ($3,815-$6,360) at Lyon & Turnbull.
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Scottish art enjoyed moment in the sun at Lyon and Turnbull sale

[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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Two Charles Rennie Mackintosh floral drawings, done 19 years apart, triumph at Lyon and Turnbull

‘Lavender, Walberswick,’ a pencil and watercolor by Charles Rennie Mackintosh dated 1915, which sold for £39,300 ($48,357) at Lyon & Turnbull.

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EDINBURGH, U.K. – A group of Charles Rennie Mackintosh (1868-1928) watercolors and drawings sold on behalf of the Glasgow Art Club excelled at Lyon & Turnbull on October 11. The cache of seven works on paper, including four flower studies, had belonged to William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. They formed part of the 1933 Mackintosh memorial exhibition in the MacLellan Galleries on Glasgow’s Sauchiehall Street and were given to the Glasgow Art Club in 1984. In short, they were appearing on the market for the very first time.

Mackintosh began creating pencil-on-paper flower sketches as far back as his student days in the 1880s. The 10.2 by 7.8in pencil drawing Anemonie is one such early example. He notes in the cartouche that the plant was found at Lamlash on Arran in 1893, pressed, and then sketched three years later in 1896. It was modestly estimated at £4,000-£6,000 but hammered for £30,000 and sold for £39,300 ($48,350).

It was during a 10-month period in 1914-15, that Mackintosh – who had left his architectural practice in Glasgow under a cloud – created a celebrated series of botanical watercolor studies at Walberswick in Suffolk, England. One contemporary suggested Mackintosh produced them for a book commissioned by a German publisher (a project shelved after the outbreak of war), but it was also an opportunity to re-sharpen his artistic vision.

The 12 by 9in pencil and watercolor Lavender, Walberswick, dated 1915, is one of around 30-40 finished works painted at the tranquil coast village. The most detailed of the sketches offered, it was signed with both the artist’s initials and those of his wife Margaret Mackintosh, denoting, like a diary entry, that she was present when it was drawn. It, too, flew well above its estimate, hammering at £30,000 and selling for £39,300 ($48,350).

Leading the sale by hammering for £32,000 and selling for £41,920 ($51,500) against an estimate of £15,000-£20,000 ($18,400-$24,600) was one of a small handful of surviving cross-culture objects created by the architect-designer William Burges (1827-1881) for his own enjoyment. As inscribed to the gilt metal mount, this archaic Chinese gui-form jade censer later inlaid with colored glass and gemstone cabochons was made for Burges with funds received from the completion of a commission in Scotland in 1870. The job was to design a stone reredos for the high altar of St Michael and All Saints Episcopal Church in Edinburgh – the only work he completed in the city.

This remarkable bowl was part of the furnishings at Burges’ London home Tower House and was later on loan to the National Museum of Wales from 1931 to 1953. It first appeared at auction in 2012, when it sold for £34,000 ($41,800) at Dreweatts, but was last sold at auction at Sotheby’s in 2013, when it made a more modest £15,000 ($18,400). It was recently part of the collection of the U.S. musician John Gilbert Getty (1968-2020).

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‘Anemonie,’ a pencil drawing by Charles Rennie Mackintosh dated 1896, which sold for £39,300 ($48,350) at Lyon & Turnbull.
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‘Lavender, Walberswick,’ a pencil and watercolor by Charles Rennie Mackintosh dated 1915, which sold for £39,300 ($48,350) at Lyon & Turnbull.
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Chinese jade bowl later embellished with silver-gilt mounts, colored glass and gemstone cabochons by William Burges, which sold for £41,920 ($51,500) at Lyon & Turnbull.
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Louis Wain cat paintings and an allegorical Cedric Morris work appear at Lyon and Turnbull Oct. 26-27

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LONDON — Appealing to feline fanatics everywhere, two outstanding works by the great cat painter Louis Wain (1860-1939) come to auction this month. Both works have been in the same family collection since at least 1915 and have been unseen for more than a century. They have estimates of £10,000-£15,000 ($12,200-$18,300) each as part of Lyon & Turnbull’s Modern Made auction in London on Friday, October 27.

Mirth at the sometimes-bizarre behavior of the domesticated cat is not just the stuff of 21st-century social media. At the turn of the 20th century, the illustrations of Louis Wain were virtually inescapable. His world of anthropomorphized cats did much to normalize the ownership of cats as pets and was so popular that he wrote and illustrated more than 100 children’s books. His troubled life story — success, tragedy and failing mental health — was dramatized on the big screen in the 2021 film The Electrical Life of Louis Wain, starring Benedict Cumberbatch.

Although Wain’s profile has recently been catapulted into popular culture, he has long been admired in the cat-collecting sphere on both sides of the Atlantic. The works offered in the sale are from the peak of his career, created around 1904 in pen, ink, watercolor, gouache and pencil on paper and board.

Hockey depicts a ferociously competitive cat hockey match, with the viewer plunged into the thick of the action. It is one of Wain’s most recognizable and popular images, having been one of the most widely published postcards of 1904-05. To Be Let Unfurnished is another multi-subject picture: a plotline unfolds as some 18 felines, young and old, assemble outside a disused property.

Bonhams set a new auction record for Louis Wain in March of this year when A Highway Robbery, offered in a Knightsbridge auction of Modern British and Irish Art, took £30,000 ($36,600).

Lyon & Turnbull’s mixed-discipline Modern Made sale, displayed in London’s Mall Galleries, is preceded on Thursday, October 26 with a themed pictures auction titled Avant Garde.

This 54-lot offering is headlined by an allegorical bird and flower painting created by the artist-plantsman Cedric Morris (1889-1982) in the shadow of World War II. The 1938 oil Crisis, not seen in public for more than half a century, has an estimate of £150,000-£250,000 ($182,700-$304,600).

In this large-scale canvas, Morris combined two of his passions – ornithology and horticulture – to comment on European politics. The central image shows a tree-like plant populated by a menagerie of British birds, from the shy Goldcrest perched at the top to the Lesser Spotted Woodpecker at its base. Using the language of flowers, Morris represents pride (Crinum Lilies), inconstancy (Evening Primroses), health, wisdom and good nature (Verbascum) while the crocuses at the lower center signify ‘my best days are past.’ As all these flowers are late summer or early autumn blooms, it would suggest the time of year Morris created the painting. It coincides with the signing of the Munich Agreement in September 1938.

When Morris applied the date ‘38’ to the still-wet impasto at the lower left of the work, he was enjoying an especially favorable period in his life. He had left London’s avant-garde art world behind and moved with his life partner and fellow artist Arthur Lett-Haines to The Pound farmhouse in Higham, England. The East Anglian School of Painting and Drawing, which the pair established in 1937, was welcoming its first students and would shortly move to the rambling pink manor house Benton End in nearby Hadleigh.

Morris sent Crisis for inclusion in the 1939 International Exhibition of Paintings at the Carnegie Institute in Pittsburgh, Pennsylvania. The picture was later acquired from Morris by his friends, the advertising executive Robert ‘Bobby’ Bevan and his wife Natalie Bevan, the artist and muse. They had first met Morris and Lett-Haines in the late 1920s and in 1947 moved to Boxted, England.

Morris’s significance to the Modern British canon has been reassessed in recent years, leading to a dramatic increase in the prices achieved for his paintings. The current auction record of £160,000 (about $195,100) was set at Sworders in October 2019 for the 1932 painting Foxgloves.

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Louis Wain, ‘Hockey,’ estimated at £10,000-£15,000 ($12,200-$18,300) at Lyon & Turnbull.
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Louis Wain, ‘To Be Let Unfurnished,’ estimated at £10,000-£15,000 ($12,200-$18,300) at Lyon & Turnbull.
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Marcel Breuer for Isokon, set of three nesting tables, estimated at £3,000-£5,000 ($3,660-$6,100) at Lyon & Turnbull.
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Serge Chermayeff, pair of Plan chairs, estimated at £1,500-£2,500 ($1,830-$3,050) at Lyon & Turnbull.
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Cedric Morris’s allegorical painting ‘Crisis,’ estimated at £150,000-£250,000 ($182,700-$304,600) at Lyon & Turnbull.
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Group of 20 Jacobite drinking glasses earn a toast at Lyon and Turnbull

Set of six Jacobite drinking glasses, £7,500 (or about $9,500) at Lyon & Turnbull.

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EDINBURGH, UK – A group of 20 Jacobite drinking glasses from the 18th century featured in the sale of Scottish Works of Art and Whisky held by Lyon & Turnbull on August 16. Absentee and Internet live bidding was facilitated through LiveAuctioneers.

Most were single glasses and the majority were engraved with the typical Jacobite motifs of a rose and buds, although some had more specific engraved details linking them to the supporters of the exiled ‘king’ James Francis Edward Stuart (the Old Pretender) and his son Charles Edward Stuart.

Virtually all sold at a variety of four-figure prices.

Topping the bill was a set of six 18th-century glasses, 6in (15cm) high, with bell-shaped bowls set on air-twist stems engraved with a rose head flanked by buds and foliage. The white rose symbolized the exiled James with one bud symbolizing the ‘Bonnie Prince’ Charles and the other his brother Henry.

Sets of Jacobite glasses are rare survivals. A spokesperson for the auction house stated: “It is tantalizing to consider that these glasses must have sat on a Jacobite table, belonging to a supporter who was very confident in his position and status, and who had a close group of companions he could share his views with.

“As such a statement of wealth, taste and prominence within the Jacobite community, it can be assumed they were owned by an important high-ranking Jacobite.”

Lyon & Turnbull sold a comparable set in May 2018 for £6,500 (roughly $8,200). The set offered in August, which had an estimate of £3,000-£5,000, realized £7,500, or £9,450 including buyer’s premium ($9,500, or about $11,900 including buyer’s premium).

The most expensive individual glass in the group at £6,500 (or £8,190, which in turn translates to about $8,200 and $10,300, respectively) was a 6in (15cm) high 18th-century opaque twist stem glass with a bucket bowl that was engraved with a thistle and leaves plus the Jacobite motto Success to the Society as well as the family motto Gang Warily. A second glass of the same size and shape with the same Success to the Society motto but dated to the mid-18th century and with engravings of a rose head and two buds as well as a thistle realized £4,000 (or £5,040, which becomes about $5,000 and $6,300, respectively).

There was one Jacobite portrait glass on offer, a 6¾in air-twist stemmed example engraved to the trumpet bowl with a profile of Prince Charles Edward Stuart (The Young Pretender) within a laurel leaf cartouche. This was dated to the late 18th century (earlier Jacobite glasses tend to be from the middle of the century and the time of the 1745 rebellion) and sold for £2,200 (£2,770, which in turn becomes about $2,700 and $3,400, respectively).

Article courtesy of Antiques Trade Gazette.
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Set of six Jacobite drinking glasses, £7,500 (or about $9,500) at Lyon & Turnbull.
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Jacobite glass engraved with the mottos ‘Success to the Society’ and ‘Gang Warily’ and a thistle, £6,500 (or about $8,200) at Lyon & Turnbull.
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Jacobite drinking glass engraved ‘Success to the Society’ and a rose and thistle, £4,000 (or about $5,000) at Lyon & Turnbull.
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Jacobite glass with a portrait of Charles Edward Stuart, £2,200 (or about $2,700) at Lyon & Turnbull.
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Choice art and John Le Carre’s desk share stage at Lyon & Turnbull, April 27-28

Chi Wing Lo for Giorgetti maple and brushed steel desk and document chest on which John Le Carre wrote his final series of novels, estimated at £6,000-£8,000. Image courtesy of Lyon & Turnbull
Chi Wing Lo for Giorgetti maple and brushed steel desk and document chest on which John Le Carre wrote his final series of novels, estimated at £6,000-£8,000. Image courtesy of Lyon & Turnbull

LONDON – Lyon & Turnbull will present two strong auctions on consecutive dates. Avant Garde: Art from 1890 to Now takes place on Thursday, April 27, and MODERN MADE is scheduled for Friday, April 28. Absentee and Internet live bidding will be available through LiveAuctioneers.

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Gerald Summers furniture collection sells out at Lyon & Turnbull

Gerald Summers plywood armchair, £25,200. Image courtesy of Lyon & Turnbull
Gerald Summers plywood armchair, £25,200. Image courtesy of Lyon & Turnbull
Gerald Summers plywood armchair, £25,200. Image courtesy of Lyon & Turnbull

LONDON and EDINBURGH, U.K. – An exceptional collection of plywood furniture by English modernist designer Gerald Summers (1899-1967) – the largest of its type to come to auction – proved a sell-out when offered at Lyon & Turnbull‘s The Modern Made sale, held on October 28. It was one of four design-themed sales held by the house in October. Together, the sales totaled £2.65 million, or about $3.1 million.

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‘Tasteful’ Paul Reeves collection featured at Lyon & Turnbull, June 28

 

May Morris for Morris & Co. Arts & Crafts table cover, est. £1,200-£1,800

May Morris for Morris & Co. Arts & Crafts table cover, est. £1,200-£1,800

EDINBURGH, Scotland – On Tuesday, June 28, Lyon & Turnbull will conduct a sale titled Hints on Household Taste: Paul Reeves, a 314-lot auction drawn from the stock and private collection of Reeves, an acclaimed interior decorator and dealer in antiques. Absentee and Internet live bidding will be available through LiveAuctioneers.

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