David McClure Sold at Auction Prices

Painter, b. 1926 - d. 1998

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        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998)
          Aug. 13, 2024

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998)

          Est: £400 - £600

          DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) FISHING BOATS, ST MONANS - 1953 Signed lower right, gouache 46cm x 57cm (18in x 22.5in) Exhibited: The Scottish Gallery, 2003

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998)
          Aug. 13, 2024

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998)

          Est: £600 - £800

          DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) YET MORE PEARS - 1992 Signed lower right, signed and inscribed with title and dated '92 verso, oil on board 49cm x 59cm (19.25in x 23.25in) 

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998)
          Apr. 30, 2024

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998)

          Est: £500 - £700

          DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) HELENIUM IN A GLASS JUG - 1990 Signed lower left, signed and inscribed with title and dated verso, oil on canvas 45cm x 34cm (17.75in x 13.5in)

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998)
          Apr. 30, 2024

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998)

          Est: £1,200 - £1,800

          DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) SERPENTINE-FRONTED TABLE - 1958 Signed and dated '58 lower right, oil on board 74cm x 58cm (29in x 22.75in)

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998)
          Apr. 30, 2024

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998)

          Est: £500 - £700

          DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) GIRL AT THE MIRROR - 1972 Signed and dated '72 lower left, signed and inscribed with title verso, oil on panel 25cm x 13.5cm (9.75in x 5.25in)

          Lyon & Turnbull
        • DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) STUDY FOR 'NUDE GIRL, DREAM OF SUMMER' - 1963
          Feb. 13, 2024

          DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) STUDY FOR 'NUDE GIRL, DREAM OF SUMMER' - 1963

          Est: £300 - £500

          DAVID MCCLURE STUDY FOR 'NUDE GIRL, DREAM OF SUMMER' - 1963 Signed and dated lower right, inscribed ‘To Jim in fond regard’ lower left, mixed media on grey paper 19cm x 23.5cm (7.5in x 9.25in)

          Lyon & Turnbull
        • DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) FLOWERS IN A CHALICE
          Feb. 13, 2024

          DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) FLOWERS IN A CHALICE

          Est: £600 - £800

          DAVID MCCLURE FLOWERS IN A CHALICE Signed lower right, signed and inscribed with title verso, oil on board 18cm x 23.5cm (7in x 9.25in)

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) FLOWERS, VIOLIN AND PINK BIRD
          Jan. 10, 2024

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) FLOWERS, VIOLIN AND PINK BIRD

          Est: £3,000 - £5,000

          DAVID MCCLURE FLOWERS, VIOLIN AND PINK BIRD Signed lower right, inscribed with title verso, oil on board Exhibited: The Royal Scottish Academy, Edinburgh 57cm x 75cm (22.5in x 29.5in)

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) LILACS AND PEARS
          Jan. 10, 2024

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) LILACS AND PEARS

          Est: £2,000 - £3,000

          DAVID MCCLURE LILACS AND PEARS Signed lower right, signed and inscribed with title verso, oil on board 59cm x 48cm (23.25in x 19in)

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) COCKEREL II
          Jan. 10, 2024

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) COCKEREL II

          Est: £800 - £1,200

          DAVID MCCLURE COCKEREL II Signed lower left, oil on canvas board 34cm x 44cm (13.5in x 17.25in)

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) HORSEMAN - 1975
          Jan. 10, 2024

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) HORSEMAN - 1975

          Est: £1,500 - £2,000

          DAVID MCCLURE HORSEMAN - 1975 Signed lower right, oil on board Exhibited: 'David McClure Memorial Exhibition', The Scottish Gallery, Edinburgh, 2000 48cm x 59cm (19in x 23.25in)

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) THE BAMBOO STOOL - C.1978
          Jan. 10, 2024

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) THE BAMBOO STOOL - C.1978

          Est: £3,000 - £5,000

          DAVID MCCLURE THE BAMBOO STOOL - C.1978 Signed lower right, inscribed with title verso, oil on board 1926 71cm x 91cm (28in x 35.75in)

          Lyon & Turnbull
        • David McClure RSA RSW RGI (British, 1926-1998) Birds in a Red Landscape
          Dec. 12, 2023

          David McClure RSA RSW RGI (British, 1926-1998) Birds in a Red Landscape

          Est: £1,000 - £1,500

          David McClure RSA RSW RGI (British, 1926-1998) Birds in a Red Landscape signed 'D M cClure' (lower right), titled, extensively inscribed, signed and dated 'D. M cClure/'93' (frame backing board, verso) oil on canvas board 50 x 60cm (19 11/16 x 23 5/8in).

          Bonhams
        • David McClure RSA RSW RGI (British, 1926-1998) The Mirror, I (painted in 1966)
          Oct. 11, 2023

          David McClure RSA RSW RGI (British, 1926-1998) The Mirror, I (painted in 1966)

          Est: £1,000 - £1,500

          David McClure RSA RSW RGI (British, 1926-1998) The Mirror, I titled, dated, inscribed and signed 'DAVID M cCLURE, ARSA, RSW.' (verso) oil on canvas 76 x 63.5cm (29 15/16 x 25in). painted in 1966

          Bonhams
        • David McClure RSA RSW RGI (British, 1926-1998) Study for 'White Bird' I (painted in 1966)
          Oct. 11, 2023

          David McClure RSA RSW RGI (British, 1926-1998) Study for 'White Bird' I (painted in 1966)

          Est: £600 - £800

          David McClure RSA RSW RGI (British, 1926-1998) Study for 'White Bird' I signed 'M cCLURE' (incised into paint, lower right), titled, dated, signed and further inscribed (verso) oil on canvas 40.5 x 35.5cm (15 15/16 x 14in). painted in 1966

          Bonhams
        • David McClure RSA RSW RGI (British, 1926-1998) Birds in a Red Landscape
          Oct. 11, 2023

          David McClure RSA RSW RGI (British, 1926-1998) Birds in a Red Landscape

          Est: £3,000 - £5,000

          David McClure RSA RSW RGI (British, 1926-1998) Birds in a Red Landscape signed 'D M cClure' (lower right), titled, extensively inscribed, signed and dated 'D. M cClure/'93' (frame backing board, verso) oil on canvas board 50 x 60cm (19 11/16 x 23 5/8in).

          Bonhams
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) BLUE TABLECLOTH WITH GIRL AT WINDOW
          Aug. 09, 2023

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) BLUE TABLECLOTH WITH GIRL AT WINDOW

          Est: £1,000 - £1,500

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) BLUE TABLECLOTH WITH GIRL AT WINDOW Oil on board (26.5cm x 25cm (10.5in x 9.75in)) Exhibited: The Scottish Gallery, Edinburgh, 'Christmas Exhibition - 1970,' cat. no. 38

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) BIRD OF PASSAGE
          Aug. 09, 2023

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) BIRD OF PASSAGE

          Est: £1,500 - £2,000

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) BIRD OF PASSAGE Signed upper right, signed and titled to backboard verso, oil and collage on gesso (69cm x 86cm (27.25in x 33.75in)) Provenance: From the artist's estate. Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career. Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint. An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt. Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy. As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) BOAT IN MILPORT HARBOUR
          Aug. 09, 2023

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) BOAT IN MILPORT HARBOUR

          Est: £400 - £600

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) BOAT IN MILPORT HARBOUR Mixed media (54.5cm x 74cm (21.5in x 29.25in)) Provenance: From the artist's estate. Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career. Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint. An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt. Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy. As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) DARK HILL, MILLPORT - 1955
          Aug. 09, 2023

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) DARK HILL, MILLPORT - 1955

          Est: £400 - £600

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) DARK HILL, MILLPORT - 1955 Signed and dated lower right, mixed media (54.5cm x 74.5cm (21.5in x 29.25in)) Provenance: From the artist's estate. Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career. Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint. An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt. Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy. As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) HOUSES ON THE FRONT, MILLPORT
          Aug. 09, 2023

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) HOUSES ON THE FRONT, MILLPORT

          Est: £500 - £700

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) HOUSES ON THE FRONT, MILLPORT Signed lower right, mixed media (54cm x 74.5cm (21.25in x 29.25in)) Provenance: From the artist's estate. Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career. Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint. An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt. Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy. As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) CADAQUES - 1953
          Aug. 09, 2023

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) CADAQUES - 1953

          Est: £600 - £800

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) CADAQUES - 1953 Signed and dated lower right, titled and dated to backboard, pencil and watercolour (31.5cm x 42.5cm (12.5in x 16.75in)) Provenance: From the artist's estate. Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career. Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint. An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt. Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy. As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) LITTLE TUSCAN CHURCH - 1956
          Aug. 09, 2023

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) LITTLE TUSCAN CHURCH - 1956

          Est: £600 - £800

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) LITTLE TUSCAN CHURCH - 1956 Signed and dated lower left, signed and titled to backboard, gouache and chalk (49cm x 59cm (19.25in x 23.25in)) Provenance: From the artist's estate. Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career. Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint. An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt. Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy. As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) PALAZZI, FLORENCE
          Aug. 09, 2023

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) PALAZZI, FLORENCE

          Est: £300 - £500

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) PALAZZI, FLORENCE Signed lower right, gouache and watercolour (38cm x 49.5cm (15in x 19.5in)) Provenance: From the artist's estate. Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career. Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint. An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt. Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy. As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) SQUARE AND CHURCH, FIESOLE
          Aug. 09, 2023

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) SQUARE AND CHURCH, FIESOLE

          Est: £600 - £800

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) SQUARE AND CHURCH, FIESOLE Gouache with pastel (33cm x 57cm (13in x 22.5in)) Provenance: From the artist's estate. Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career. Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint. An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt. Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy. As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) IN PIAZZA DEL CARMINE - 1956
          Aug. 09, 2023

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) IN PIAZZA DEL CARMINE - 1956

          Est: £500 - £700

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) IN PIAZZA DEL CARMINE - 1956 Signed and dated lower right, pencil and gouache (36cm x 68cm (14.25in x 26.75in)) Provenance: From the artist's estate. Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career. Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint. An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt. Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy. As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) FRUIT AND GARLIC - 1989
          Aug. 09, 2023

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) FRUIT AND GARLIC - 1989

          Est: £3,000 - £5,000

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) FRUIT AND GARLIC - 1989 Signed lower right, signed, titled and dated verso, oil on canvas (70cm x 90.5cm (27.5in x 35.75in)) Provenance: From the artist's estate. Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career. Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint. An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt. Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy. As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) SEATED MODEL
          Aug. 09, 2023

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) SEATED MODEL

          Est: £1,000 - £1,500

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) SEATED MODEL Oil on canvas (75cm x 80cm (29.5in x 31.5in)) Provenance: From the artist's estate. Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career. Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint. An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt. Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy. As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) FIGURE AND FLOWERS - 1963
          Aug. 09, 2023

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) FIGURE AND FLOWERS - 1963

          Est: £800 - £1,200

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) FIGURE AND FLOWERS - 1963 Signed and dated lower left, signed, titled and dated verso, oil on canvas (75cm x 62cm (29.5in x 24.5in)) Provenance: From the artist's estate. Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career. Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint. An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt. Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy. As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) LAWNMARKET INTERIOR - 1954
          Aug. 09, 2023

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) LAWNMARKET INTERIOR - 1954

          Est: £600 - £800

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) LAWNMARKET INTERIOR - 1954 Signed and dated upper left, gouache (59cm x 30cm (23.25in x 11.75in)) Provenance: From the artist's estate. Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career. Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint. An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt. Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy. As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) MORE PEARS
          Aug. 09, 2023

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) MORE PEARS

          Est: £1,500 - £2,000

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) MORE PEARS Signed lower left, signed and titled verso, oil on board (49.5cm x 59.5cm (19.5in x 23.5in)) Provenance: From the artist's estate. Note: This work dates from c. 1990. Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career. Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint. An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt. Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy. As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) INTERESTING WALL - 1956
          Aug. 09, 2023

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) INTERESTING WALL - 1956

          Est: £300 - £500

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) INTERESTING WALL - 1956 Signed and dated lower left, charcoal (44.5cm x 54.5cm (17.5in x 21.5in)) Provenance: From the artist's estate. Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career. Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint. An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt. Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy. As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) HEDGEROW GATHERINGS ON THE DRESSER
          Aug. 09, 2023

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) HEDGEROW GATHERINGS ON THE DRESSER

          Est: £400 - £600

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) HEDGEROW GATHERINGS ON THE DRESSER Ink on paper (56cm x 43cm (22in x 17in)) Provenance: From the artist's estate. Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career. Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint. An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt. Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy. As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) JUG AND MUG IN THE WINDOW - 1955
          Aug. 09, 2023

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) JUG AND MUG IN THE WINDOW - 1955

          Est: £300 - £500

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) JUG AND MUG IN THE WINDOW - 1955 Signed and dated lower right, ink study on paper (56.5cm x 44.5cm (22.25in x 17.5in)) Provenance: From the artist's estate. Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career. Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint. An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt. Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy. As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) SICILIAN SCREEN - 1964
          Aug. 09, 2023

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) SICILIAN SCREEN - 1964

          Est: £2,000 - £3,000

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) SICILIAN SCREEN - 1964 Signed lower centre, signed, titled and dated to backboard, oil on board (70cm x 85cm (27.5in x 33.5in)) Provenance: From the artist's estate. Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career. Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint. An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt. Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy. As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) FLOWERS IN A CHINESE VASE
          Jun. 28, 2023

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) FLOWERS IN A CHINESE VASE

          Est: £700 - £900

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) FLOWERS IN A CHINESE VASE Signed lower left, inscribed to backboard, oil on canvasboard (53cm x 38cm (20.75in x 15in)) Exhibited: Bohun Gallery, Henley-on-Thames, 7 Scottish Painters, 1995, whence acquired by the present owner's father

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., (SCOTTISH 1926-1998) A FLURRY OF BIRDS AND FLOWERS - 1993
          Jun. 28, 2023

          § DAVID MCCLURE R.S.A., R.S.W., (SCOTTISH 1926-1998) A FLURRY OF BIRDS AND FLOWERS - 1993

          Est: £1,000 - £1,500

          § DAVID MCCLURE R.S.A., R.S.W., (SCOTTISH 1926-1998) A FLURRY OF BIRDS AND FLOWERS - 1993 Signed lower left, signed, inscribed and dated to the backboard, oil and collage (69cm x 46cm (27.25in x 18in)) Provenance: From the artist's estate.

          Lyon & Turnbull
        • David McClure R.S.A., R.S.W. (Scottish, 1926-1998), Table top still life, oil on board, 38 x 28cm
          Jun. 27, 2023

          David McClure R.S.A., R.S.W. (Scottish, 1926-1998), Table top still life, oil on board, 38 x 28cm

          Est: £400 - £600

          § David McClure R.S.A., R.S.W. (Scottish, 1926-1998) Table top still life oil on board signed

          Gorringes
        • David McClure RSA RSW RGI (British, 1926-1998) The Yellow Shawl
          May. 17, 2023

          David McClure RSA RSW RGI (British, 1926-1998) The Yellow Shawl

          Est: £4,000 - £6,000

          David McClure RSA RSW RGI (British, 1926-1998) The Yellow Shawl signed 'D Mc.Clure' (lower right), signed, titled and inscribed 'THE YELLOW SHAWL/DAVID McCLURE/RSA./16 STRAWBERRYBANK/DUNDEE.' (on the reverse) oil on panel 101.6 x 91.4cm (40 x 36in).

          Bonhams
        • David McClure RSA RSW (1926-1998)
          Apr. 25, 2023

          David McClure RSA RSW (1926-1998)

          Est: £400 - £600

          David McClure RSA RSW (1926-1998) ▴ David McClure RSA RSW (1926-1998) 'Toscano, Spring I' signed and dated 'David McClure/56' l.r., apparently signed, inscribed with title and dated verso, gouache over pencil 47 x 67cm Condition Report: Framed: 78.5 x 97cm A small pinhole to the extreme upper left corner but appears to be in otherwise good condition. Well presented and ready to hang. Unexamined out of glazed frame.

          Sworders
        • § DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926-1998) LANDSCAPE, SPAIN - 1952
          Apr. 04, 2023

          § DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926-1998) LANDSCAPE, SPAIN - 1952

          Est: £1,500 - £2,000

          § DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926-1998) LANDSCAPE, SPAIN - 1952 With the artist's estate stamp verso, oil on board (60cm x 90cm (23.5in x 35.5in)) Provenance: From the artist's estate.

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., (SCOTTISH 1926-1998) A FLURRY OF BIRDS AND FLOWERS - 1993
          Apr. 04, 2023

          § DAVID MCCLURE R.S.A., R.S.W., (SCOTTISH 1926-1998) A FLURRY OF BIRDS AND FLOWERS - 1993

          Est: £2,000 - £3,000

          § DAVID MCCLURE R.S.A., R.S.W., (SCOTTISH 1926-1998) A FLURRY OF BIRDS AND FLOWERS - 1993 Signed lower left, signed, inscribed and dated to the backboard, oil and collage (69cm x 46cm (27.25in x 18in)) Provenance: From the artist's estate.

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) FLOWERS IN A CHINESE VASE
          Apr. 04, 2023

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) FLOWERS IN A CHINESE VASE

          Est: £1,500 - £2,000

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) FLOWERS IN A CHINESE VASE Signed lower left, inscribed to backboard, oil on canvasboard (53cm x 38cm (20.75in x 15in)) Exhibited: Bohun Gallery, Henley-on-Thames, 7 Scottish Painters, 1995, whence acquired by the present owner's father

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) SERPENTINE-FRONTED TABLE - 1958
          Apr. 04, 2023

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) SERPENTINE-FRONTED TABLE - 1958

          Est: £1,200 - £1,800

          § DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) SERPENTINE-FRONTED TABLE - 1958 Signed and dated lower right, oil on board (74cm x 58cm (29in x 22.75in)) Provenance: From the artist's estate.

          Lyon & Turnbull
        • λ DAVID MCCLURE (SCOTTISH 1926-1998), RECLINING NUDE WITH FRUIT
          Mar. 15, 2023

          λ DAVID MCCLURE (SCOTTISH 1926-1998), RECLINING NUDE WITH FRUIT

          Est: £1,000 - £1,500

          λ DAVID MCCLURE (SCOTTISH 1926-1998)RECLINING NUDE WITH FRUIT Oil on canvas Signed (lower right), further signed to stretcher overlap (verso)38.5 x 48cm (15 x 18¾ in.)Painted in 1969.Provenance:Aitken Dott & Son, EdinburghSale, 27 September 1990, lot 81 Exhibited:Edinburgh, Aitken & Son, Festival Exhibition, 1969, no. 56

          Dreweatts 1759 Fine Sales
        • § DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926-1998) FISHING BOAT, SICILY
          Feb. 07, 2023

          § DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926-1998) FISHING BOAT, SICILY

          Est: £300 - £500

          § DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926-1998) FISHING BOAT, SICILY Signed and dated '57 to margin, monotype (18.25cm x 25cm (7.25in x 9.75in)) Provenance: From the artist's estate.

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926-1998) FANTAILS ON AN EASEL
          Feb. 07, 2023

          § DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926-1998) FANTAILS ON AN EASEL

          Est: £500 - £700

          § DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926-1998) FANTAILS ON AN EASEL Pastel and collage on paper (56.75cm x 73.5cm (22.25in x 29in)) Provenance: From the artist's estate.

          Lyon & Turnbull
        • § DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926-1998) STILL-LIFE WITH VIOLIN
          Jan. 11, 2023

          § DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926-1998) STILL-LIFE WITH VIOLIN

          Est: £3,000 - £5,000

          § DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926-1998) STILL-LIFE WITH VIOLIN With artist's estate stamp verso, oil on canvas (70cm x 90.5cm (27.5in x 35.5in)) Provenance: From the artist's estate.

          Lyon & Turnbull
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