Cunningham & Wyllie | 27/08/2013

The Studios ofJohn Cunninghamand George Wyllie

Tuesday, 27th August, 2013The LighthouseGlasgow

Catalogue: £10

BUYERS’ PREMIUM25% up to £25,00020% thereafter.VAT will be charged on the premiumat the rate imposed by law.†20% VAT chargeable on the lot itself*5% import VAT on the lot§ Droit de Suite (artists’ resale rights)applies(see our Terms and Conditions of Saleand Information for Buyers).

The Studios ofJohn CunninghamandGeorge Wyllie

Tuesday, 27th August, 2013at 6pm

Sale Number LT398

The Lighthouse11 Mitchell LaneGlasgow G1 3NU

ViewingSunday, 25th August 12 noon - 4pmMonday, 26th August 10am - 4pmTuesday, 27th August 10am - 4pm

SpecialistsNick [email protected]

Emily [email protected]

Charlotte [email protected]

Gavin [email protected]

ENQUIRIES AND COMMISSION BIDSLyon and Turnbull Ltd.33 Broughton PlaceEdinburgh EH1 3RRTel. 0131 557 8844Fax. 0131 557 8668email. [email protected]

Lyon & Turnbull in Glasgow

182 Bath Street 0141 333 1992 [email protected]

Campbell started his career with Phillipson Bath Street, going on to becomeManaging Director, before becoming oneof the founding directors of therelaunched Lyon & Turnbull in 1999. A‘well kent’ face in Glasgow and theScottish art world, Campbell placesstrong emphasis on good client contact.He is also a valuer with wide knowledgebuilt up over twenty years’ experience.

Founded in 1826, Lyon & Turnbull is Scotland’s oldest and largest auction house, with the most extensive team of specialistvaluers in the country. Through our Glasgow office and gallery space we are able to offer advice on buying and selling at auctionand valuations for sale and tax purposes. We look forward to welcoming you at our Bath Street address and extending ourservices to you.

Campbell ArmourDirector

Linda is the main point of contact forlawyers and other professional andprivate clients. She keeps a careful eyeon the administration and efficienthandling of our client’s property, bothlarge and small. Linda also looks afterour varied events schedule.

Linda RobinsonClient Services

Gavin began with Christie’s on BathStreet as a specialist in the furnitureand works of art department, alsorunning the carpet department and laterbecoming their general valuer for theWest Coast. He joined Lyon & Turnbullin 2002 and, like Campbell, has anexcellent all-round knowledge of art andantiques.

James is a graduate from AberdeenUniversity and the newest member ofthe Glasgow team, joining in July 2012.He is passionate about the arts andworks hard to promote the Lyon &Turnbull name in Glasgow and the Westof Scotland. James provides awelcoming reception and ensures thesmooth running of the gallery.

Gavin StrangDirector

James McNaughtClient Services

3

ContentsThe Studio of John Cunningham

Page 6 Introduction by Professor Alan Riach

Page 7 Artworks by John Cunningham

Page 41 Artworks by other artists

Page 49 Furniture and objects

The Studio of George Wyllie

Page 52 Introduction by Jan Patience

Page 55 Artworks by George Wyllie

Page 93 Artworks by other artists

Page 97 Furniture and objects

CollectionsPlease note that all bought items will be available for collectionfrom The Lighthouse until 2pm the day after the sale.Thereafter paintings and small sculpture can be removed toour Glasgow office by request, otherwise all works and largeritems will be removed to our Edinburgh stores.

These items will be stored free of charge until the Fridayfollowing the sale, thereafter charges will be incurred.

See page 104 for details of storage charges and deliveryoptions.

Auction Location

Map not to scale. For illustrative purposes only.

W. GEORGE STREET

BUCHANAN

STREE

T

QUEE

NST

REE

T

ARGLYE STREET

MITCHEL

LST

REE

T

MITCHELL

LANE

ST. VINCENT STREET

JAMAICAST

REE

T

WES

TNILE

STREE

T

HOPEST

REE

T

1

2

4 1 Queen Street station2 Mitchell Street car park3 The Lighthouse (auction venue)4 Central station

3

4

L Y O N & T U R N B U L L

Important informationfor buyers

Live Online BiddingLive online bidding facilities areavailable through our website andArtfact.com. You must register inadvance of the sale for this service.All registrations are subject toapproval.Our live auctions are run by Artfact,there is an additional 3% plus VATfor this service. Please note that liveonline bidding may be subject totechnical issues/ restrictions.

Methods of PaymentGoods purchased will not bereleased until we have received fullpayment.

Bank TransferPlease find details in any emailinvoice we issue or upon requestfrom our accounts department.

CashCash payments can be made at theaccounts desk during or after a sale.

Credit or Debit CardsPayment can be made by Visa Debit,Maestro, Mastercard or Visa Creditcards. Please note there is a 2%surcharge on credit card paymentsand we do not accept Amex..

Online PaymentsWe no longer accept card paymentsby phone, please use our onlinepayment service (powered byWorldpay). You will find a link to thisservice in any email invoice issue oryou can visit the payments section ofour website.

ChequeCheques should be made payable toLyon and Turnbull Ltd. We reservethe right to wait until cheques havebeen cleared by our bankers beforereleasing bought goods. Chequescan be cleared prior to sale onrequest. Cheques drawn by thirdparties cannot be accepted. If payingby post please include the slip fromyour invoice.

CollectionSee notes on pages 3 and 104.

C&W

on or before the day of sale. We willneed proof of identification andresidence, and may require a bankreference. Potential buyers mustcollect a bidding number before thesale begins, and show that numberif successful in purchasing a lot.Please ensure that the auctioneerrepeats the number correctly whenconfirming the sale. If there is anydoubt at this stage as to thehammer price or buyer it must bebrought to the auctioneer’s attentionimmediately. All lots will be invoicedto the name and address given onyour registration form, which is non-transferable. If you have purchaseda lot you may take your biddingnumber to the accounts departmentand receive an invoice immediately.If you have not been successfulplease leave the number at theRegistration or Reception desks.

In writingBid forms are available at the saleand/or the back of the catalogue.These should be submitted inperson, by post, or by fax as soon aspossible prior to the sale and we willbid on your behalf up to the limitindicated. In the event of receivingtwo identical bids the first onereceived will take precedence. Theymust be received at the very latestat least an hour before the sale. Wewill do our utmost to execute thesebids but we offer this service entirelyat the bidder’s risk.

Telephone biddingIf you are unable to attend the salewe can normally arrange for you tobid on the telephone. This service isavailable entirely at our discretionand at the bidder’s risk. Alltelephone bids must be confirmed inwriting, listing the relevant lots andappropriate number to be called. Werecommend that a covering bid isalso left in the event that we areunable to make the call. We cannotguarantee that lines will beavailable, or that we will be able tocall you on the day, but willendeavour to undertake such bids tothe best of our abilities.

will not apply to works where thehammer price is less than €1,000(euros). The charge for works of artsold at and above €1,000 (euros) andbelow €50,000 (euros) is 4%. Foritems selling above €50,000 (euros),charges are calculated on a slidingscale.All royalty charges are paid to theappropriate collecting organisationand no handling costs or additionalfees are retained by the auctioneer.Resale royalties are not subject toVAT.Please note that the royalty paymentis calculated on the rate of exchangeat the European Central Bank on thedate of the sale.More information on Droit de Suiteis available at www.dacs.org.uk

Damage and RestorationOccasionally, when a lot hassuffered extensive damage and/orrestoration it is indicated in thecatalogue. This is mentioned entirelyat our discretion for the benefit ofbuyers. Where there is no mentionof damage and/or restoration thisshould not be taken to mean thatthere is none. It is the buyer’sresponsibility to ensure that thecondition of lots is to theirsatisfaction (see our Terms andConditions of Sale).

Condition ReportsIf potential buyers are unable toinspect lots in person our specialistswill be happy to prepare detailedCondition Reports on individual lotsas quickly as possible. These are forguidance only and all lots are sold‘as found’ (see our standard Termsand Conditions of Sale).

Electrical GoodsLots that were once operated bymains electricity are bought entirelyat the buyer’s risk. They are offeredfor sale for display or historicalpurposes and may not comply withcurrent regulations.

BiddingAt the SaleTo bid at the sale all potentialbuyers must be registered with us

Buying at AuctionThis sale is subject to our standardTerms and Conditions of Sale. Ifyou have not bought at auctionbefore we will be delighted to adviseyou.

EstimatesEstimates are printed below each lotand do not include the buyer’spremium. The sale will beconducted in pounds sterling.

DimensionsDimensions are for guidance only; itis the buyer’s responsibility toensure that they are correct.

Buyer’s PremiumThe buyer shall pay the hammerprice together with a premiumthereon.

25% up to £25,000 / 20% thereafter.

VAT will be charged on the premiumat the rate imposed by law. (see ourTerms and Conditions of Sale).

VATThe symbol † by a lot numberindicates that VAT is payable by thepurchaser at the standard rate onthe hammer price.The symbol * by a lot numberindicates that the lot has beentemporarily imported from outsidethe EU and that VAT is payable bythe purchaser at the rate of 5% onthe hammer price.No VAT is payable on the hammerprice or premium for books boughtat auction.

Droit de SuiteThis symbol indicates works whichmay be subject to the Droit de Suiteor Artist’s Resale Right, which tookeffect in the United Kingdom on 14thFebruary 2006. We are required tocollect a royalty payment for allqualifying works of art. Under newlegislation which came into effect on1st January 2012, this applies toliving artists and artists who havedied in the last 70 years.This royalty will be charged to thebuyer on the hammer price and inaddition to the buyer’s premium. It

6

I can see him now, painting in the open air inArdnamurchan or on Colonsay, canvas, easel and pigmentson the palette, all in correspondence, in his movements ofarm, hand, body, eyes keen to the whole vision before him,the brush-strokes bold and confident, but subtle andattentive to the intricate patterns of water and mountainand sky.

I remember when I was a wee boy, Uncle John took me outinto the fields of his native Lanarkshire with two easels,canvases, paints and brushes, set me up beside him andtold me to look closely at the clouds in the sky above, theirform and movement, colours and tones, shifting shapes Iwas never quick enough to catch, but watched him do it sodeft, so accurate. ‘Paint what you see!’ he commanded, likethe army man he had been, but it was his generosity andfriendliness that really made things possible.

It was my first lesson in close observation and I took it asfar as I could in writing, in my own books of poems, Firstand Last Songs and Clearances, whose covers are gracedby paintings he gave me his happy permission to placethere. When I edited Hugh MacDiarmid’s Selected Poemsfor a Penguin Modern Classics edition, John supplied thecover picture, Raised Beaches, to match the greatest of allmodern Scottish poems, ‘On a Raised Beach’ andsomething of the spirit of Scotland breathes in JohnCunningham’s work as deeply and surely as it does inMacDiarmid, something unimaginable in any other country.This is Scottish art at its quintessential best.

In the arrangements of fruit in bowls and wine in decanters,sheet music on a music stand, crockery on a linen-coveredtable, pheasants or fish on their plates, or flowers in a vaseor a Glasgow jug, there are moments in John’s paintingsthat command you just as surely, to pause and gratefullyenjoy that moment of decorum, before the eating anddrinking commences.

Patience is part of his art. I recollect long hours of workwith him in the studio at Charing Cross, stretching andnailing the canvases to frames, preparations for hispainting trips to the north-west. Once, he showed me an oldphotograph of his father’s father, a cobbler, sitting with hishelper, shoes turned on a lathe as they worked, in perhapsthe 1890s. He said this part of his work was as essential asmaking certain that the shoes were firmly soled andwatertight.

This is not simply the mechanics of construction butessential to his vision. It gives what you see in the paintingslasting value, beyond fashion. They give pleasure to the eyeand thinking mind. They are works that remind you why lifeis worth living, why it’s good to be companionable, andshare things, views of Scotland and other places, of tablesand spaces to be occupied by sensitised people who careabout such things.

All his paintings show the determined self-discipline of theartist whose commitment is total but, and in equalmeasure, the exuberance of pleasure in life’s abundance, inthe landscapes and seascapes of the west of Scotland, inthe grace and precision, the measurements of sensualapprehension, in the still lifes. The intellectual explorations

John Cunningham R.G.I. (1926-1998)


The Studio of John Cunningham

7

of the great philosophers of the Scottish Enlightenment, thearchitects and social thinkers, like Charles RennieMackintosh and Patrick Geddes, the famous engineers, allgive Scottish achievement a reputation for practicality andstraight dealing with fundamental issues, but these alwaysrequire the complementarity of sensual thinking. Theapprehension of reality through paintings is one ofScotland’s greatest achievements, from William McTaggartthrough to the Scottish Colourists in whose traditionCunningham’s work securely resides, and in the largesthuman sense of comprehending what life might be if wehave the courage to see it in all its richness and variety,here in Scotland.

Georges Braque once wrote: ‘Objects do not exist for meexcept in so far as a harmonious relationship existsbetween them and between them and myself. When oneattains this harmony one reaches a sort of intellectual non-existence which makes everything possible and right.’ JohnCunningham’s work can be looked at and studied in theintellectual history of modern Scottish painting, but againand again, in painting after painting, it delivers this sensethat the world is still capable of being so full of possibilityand rightness.

Professor Alan RiachScottish Literature

University of Glasgow

1 FG97/146JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)KILORAN BAY, COLONSAYSigned, oil on canvas

65cm x 75cm (25.5in x 29.5in)

£1,500-2,500

2 FG97/36JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)HOUSES ON COLONSAYSigned and dated 1986 verso,oil on canvas

61cm x 69cm (24in x 27.25in)

£2,500-3,500



9

3 FG97/58JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)PORTUAIRK,ARDNAMURCHANSigned and dated 1989 verso,oil on board

19cm x 51cm (7.5in x 20in)

£800-1,200

4 FG97/89JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)WEST COAST VILLAGEOil on board

30.5cm x 60.5cm (12in x 23.75in)

£500-800



10

5 FG97/7JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)SUNSET COLONSAY (2)Signed and dated 1969 verso,oil on canvas

63cm x 75cm (24.75in x 29.5in)

£2,500-3,500



11

6 FG97/51JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)APPLESSigned and dated Oct ‘75, oilon board

25.5cm x 27cm (10in x 10.5in)

£400-600

7 FG97/119JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)PEACHESSigned, oil on board

24cm x 24cm (9.5in x 9.5in)

£400-600

8 FG97/72JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)PEARSSigned, oil on board

33cm x 38cm (13in x 15in)

£400-600



12

9 FG97/162JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)REFLECTIONSSigned, oil on canvas

90cm x 49cm (35.5in x 19.25in)

£2,500-3,500



13

10JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)PASTORALSigned, inscribed and dated1986 verso, watercolour

12cm x 19cm (4.75in x 7.5in)

£200-400

11JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)KERRY CROFTSigned and dated 1993 verso,watercolour

23cm x 34cm (9in x 13.5in)

£400-600

12JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)ITALIAN LANDSCAPESigned, watercolour

20cm x 26cm (8in x 10.25in)

£250-350



14

13 FG97/41JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)STUDY FOR THE FOURSEASONS TAPESTRYSigned, inscribed and dated1990 verso, mixed media

52cm x 52cm (20.5in x 20.5in)

£1,000-1,500

14 FG97/147BJOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)GLASGOW GARDEN FESTIVALSTUDYWatercolour

21.5cm x 28cm (8.5in x 11in)

£150-250



15

15 FG97/120JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)WOMAN IN A BLACK HATSigned verso, oil on board

43cm x 30cm (17in x 11.75in)

£300-500

16 FG97/98JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)NUDE AND TABLEOil on canvas

76cm x 63cm (30in x 24.75in)

£700-1,000



16

17 FG97/101JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)DINNER AL FRESCOSigned and dated on edge1992, oil on canvas

77cm x 86cm (30.25in x 34in)

£1,200-1,800

18 FG97/108JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)CAFE SCENESigned, oil on canvas


£1,200-1,800



17

19 FG97/103JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)ITALIAN LANDSCAPESigned, oil on canvas

63.5cm x 76cm (25in x 30in)

£1,500-2,500

20 FG97/144JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)ITALIAN LANDSCAPEOil on canvas


£800-1,200



18

21 FG97/11JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)LA PLAGE DE LA MADRAGUE,PROVENCESigned and inscribed verso,oil on canvas

38cm x 58cm (15in x 22.75in)

£2,000-3,000



19

22 FG97/129JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)LANDSCAPE WITH FIGURESigned, oil on board

22.5cm x 28cm (9in x 11in)

£400-600

23 FG97/99JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)FRENCH GARDENOil on canvas

50.5cm x 55.5cm (20in x 22in)

£600-900



20

24 FG97/73JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)SUNSETOil on board

30.5cm x 30.5cm (12in x 12in)

£250-350

25 FG97/106JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)BOATS IN A HARBOURSigned, oil on canvas


£2,500-3,500

26 FG97/126JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)BOATS IN HARBOURSigned and inscribed verso,oil on canvas

54cm x 59cm (21.25in x 23.25in)

£2,000-3,000



21

27 FG97/88JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)STILL LIFE WITH CHINESEVASEOil on board


£1,500-2,500

28 FG97/17JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)STILL LIFE WITH VICTORIANJUGSigned, oil on canvas

58.5cm x 53.5cm (23in x 21in)

£2,500-3,500



22

29 FG97/91JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)STILL LIFE WITH WHITE JUGOil on board

30cm x 61cm (11.75in x 20in)

£200-300

30 FG97/127JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)STILL LIFE WITH TWO WHITEJUGSOil on board

15cm x 40cm (6in x 15.75in)

£250-350

31 FG97/145JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)STILL LIFE WITH REDSNAPPERSOil on canvas

40cm x 76cm (15.75in x 30in)

£1,200-1,800



24

32 FG97/95JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)STILL LIFE WITH CORNISHSTRIPED BOWLSigned, oil on canvas

61cm x 91cm (24in x 35.75in)

£2,500-3,500



25

33 FG97/141JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)STILL LIFE WITH TAZZA OFFRUITSigned, oil on canvas

56cm x 50cm (22in x 19.75in)

£800-1,200

34 FG97/147AJOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)STILL LIFE WITH CHINESEMOONFLASKMixed media

20cm x 21cm (8in x 8.25in)

£200-300



26

35 FG97/96JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)YVONNE AND CATOil on canvas

92cm x 101.5cm (36.25in x 40in)

£800-1,200

36 FG97/93JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)BOWL OF FRUITOil on canvas laid on board

28cm x 36cm (11in x 14.25in)

£200-300



27

37JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)LA COITATSigned, inscribed and dated24 aout’ ‘74, ink

39cm x 49cm (15.5in x 19.25in)

£250-350

38JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)VILLA LE PARADOUSigned, inscribed and dated7 April ‘92, pencil

42cm x 50cm (16.5in x 19.75in)

£250-350

39JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)PORTUAIRKSigned and dated 3 Oct’ 93,pencil and watercolour

47cm x 81cm (18.5in x 32in)

£300-500



28

41JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)RAMATUELLESigned, inscribed and dated18th June ‘92, pencil andwatercolour

47cm x 81cm (18.5in x 32in)

£400-600

42JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)THE BAY, CANADELSigned and inscribed verso,pencil and watercolour

37cm x 70cm (14.5in x 27.5in)

£500-800



29

40JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)RAMATUELLESigned and inscribed, penciland watercolour

47cm x 81cm (18.5in x 32in)

£500-800

43 FG97/140JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)WEST COAST BEACHSigned, oil on canvas

40cm x 61cm (15.75in x 24in)

£1,500-2,500

44 FG97/107JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)WEST COAST BEACH, GREYSKYOil on canvas

64cm x 81cm (25.25in x 32in)

£2,000-3,000



30

45 FG97/165JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)DERRYNANE SHORESigned and dated 1994 verso,oil on canvas

51cm x 92cm (20in x 36.25in)

£2,500-3,500



31

46 FG97/104JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)EVENING HILLSIDE,KNAPPDALESigned and inscribed verso,oil on canvas

63.5cm x 76cm (25in x 30in)

£1,500-2,500

47 FG97/37JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)AUTUMN DAY, DRYMENSigned, inscribed and dated1966 verso, oil on canvas


£1,500-2,500



32

48 FG97/18JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)LANDSCAPE WITH TREESSigned, inscribed and dated7th June 1995 verso, oil onboard

46cm x 40cm (18in x 15.75in)

£1,200-1,800

49 FG97/164JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)LANDSCAPE, STRACHURSigned, oil on board

34cm x 34cm (13.5in x 13.5in)

£700-900



33

50 FG97/139JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)WHITE COTTAGESigned, oil on canvas

29cm x 35cm (11.5in x 13.75in)

£400-600

52 FG97/128JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)MARGUERITE IN YELLOWHATSigned, oil on board

20cm x 20.5cm (8in x 8in)

another similar; and anotherfemale study (3)

£400-600



34

51 FG97/123JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)CASTILLO DE SANSERVANDO, TOLEDOSigned, oil on board

30.5cm x 41cm (12in x 16in)

£400-600

53 FG97/97JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)ROYAL VISIT TO GLASGOWCATHEDRALOil on canvas

81cm x 106cm (32in x 41.75in)

£2,000-3,000

54 FG97/137JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)STUDY FOR THE OPENING OFTHE CLYDE TUNNELSigned, gouache

36cm x 48cm (7.5in x 19in)

and a sketch of the same (2)

£400-600



35

59 FG97/124JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)LANDSCAPEOil on board

25.5cm x 45cm (10in x 17.75in)

£400-600

55 FG97/92JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)POPLARSOil on board

25.5cm x 30cm (10in x 11.75in)

£200-300

57 FG97/110JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)STRACHURSigned, inscribed and dated7th February ‘95, mixed media


£250-350

58 FG97/116JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)BROWN LANDSCAPESigned, gouache

35cm x 34cm (13.75in x 13.5in)

£300-500



36

56 FG97/90JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)LANDSCAPEOil on board

35.5cm x 41cm (14in x 16in)

£300-500

60 FG97/74JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)ADAM AND EVESigned, oil on board

26cm x 41cm (10.25in x 16in)

£300-500

62 FG97/78JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)FIGURES IN THE MOONLIGHTSigned, oil on board

17.5cm x 25cm (7in x 9.75in)

£150-250



37

61 FG97/75JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)FIGURES BELOW TREESSigned, oil on board

14.5cm x 26cm (5.75in x 10.25in)

£200-300

63 FG97/76JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)SPANISH GIRLSigned, charcoal, two framedas one

each 32cm x 12cm (12.5in x 4.75in)

Exhibited:Royal Scottish Academy, Cat. 504

£400-600

64 FG97/77JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)THE BAPTISMSigned and inscribed verso,ink and watercolour

22cm x 17.5cm (8.75in x 7in)

£200-300



38

39

65 FG97/147JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)TWO FIGURESWatercolour

29cm x 44cm (11.5in x 17.25in)

£200-300

66 FG97/134JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)RUINED BUILDINGSigned, charcoal

36.5cm x 49cm (14.5in x 19.25in)

£150-250

67 FG97/83JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)RECLINING NUDE, LEPARADOUSigned, inscribed and datedSat 20th June, pencil

47cm x 81cm (18.5in x 32in)

£200-300

68 FG97/63JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)GRANGESigned, inscribed and dated1982, ink

29cm x 40cm (11.5in x 15.75in)

and another, GORDES (2)

£250-350

69 FG97/147FJOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)SELF PORTRAITPencil

8.5cm x 7.5cm (3.25in x 3in)

and two other portraitsketches (3)

£150-250

70 FG97/147GJOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)WINDOWPencil and wash

27cm x 39cm (10.5in x 15.25in)

and another similar (2)

£150-250

71 FG97/147HJOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)LANDSCAPE WITH COTTAGEInk and wash

24cm x 34cm (9.5in x 13.5in)


£150-250

72 FG97/147JJOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)FROM SONNACHAN HOTELSigned and dated EasterSunday 1982, pencil

28.5cm x 40.5cm (11.25in x 16in)

and another KILCHOAN (2)

£150-250



40

73 FG97/147KJOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)COLONSAYDated 6 April ‘84, signed

28.5cm x 40.5cm (11.25in x 16in)

and another EOLIGARRY (2)

£150-250

74 FG97/147LJOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)YACHTSPencil

28.5cm x 40.5cm (11.25in x 16in)


£150-250

75 FG97/147CJOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)FOLIO OF NINE LANDSCAPESKETCHESMainly pencil and ink (9)

paper mainly 29.5cm x 42cm

(11.5in x 16.5in)

£300-500

76 FG97/147EJOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)FOLIO OF NINE LANDSCAPESKETCHESMainly pencil and ink (9)

paper mainly 29.5cm x 42cm

(11.5in x 16.5in)

£300-500

77 FG97/147MJOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)GLASGOW ART CLUB BARPen and wash

19.5cm x 27cm (7.75in x 10.5in)

and three Art Club sketches(4)

£200-300

78 FG97/147DJOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)GLASGOW ART CLUBPORTRAIT SKETCHESPencil, one with ink (13)

in sketch book 29.5cm x 42cm

(11.5in x 16.5in)

£200-300

79 FG97/12ATTRIBUTED TO JOHNCUNNINGHAM R.G.I.(SCOTTISH 1926-1998)RECLINING NUDETerracotta, on black woodenplinth

30cm (11.75in) long

£400-600

81§ FG97/79BENNO SCHOTZ R.S.A., L.L.D.(ESTONIAN 1891-1984)BUST OF MICHELLETerracotta

50cm (19.75in) high

£700-900



41

OTHER ARTISTS

80§ FG97/138BENNO SCHOTZ R.S.A., L.L.D(ESTONIAN 1891-1984)BUST OF JOHN CUNNINGHAMSigned and dated 1980, plaster

51cm (20in) high

£600-900

82§ALEXANDER GOUDIE R.P.,R.G.I. (SCOTTISH 1933-2004)BUST OF A YOUNG BOYBronze, on ebonised plinth

49cm (19.25in) high

£1,000-2,000



42

83§ FG97/86GEORGE DEVLIN R.S.W.,R.B.A., R.O.I., R.W.S.,F.R.S.A., R.G.I.(SCOTTISH b. 1937)PORTRAIT OF JOHNCUNNINGHAMSigned, inscribed and dated6/10/89, oil on canvas

78cm x 83cm (30.75in x 32.75in)

£1,000-1,500

84 FG97/87AFTER PABLO PICASSOFESTIVAL MONDIAL DE LAJEUNESSE ET DESETUDIANTS POUR LA PAIX,BERLINScreenprint in colours oncotton scarf, 1951, framed


£700-900



43

85§ FG97/55JOHN HOUSTON O.B.E.,R.S.A., R.S.W., R.G.I., S.S.A.(SCOTTISH 1930-2008)FESTIVAL, HEIAN SHRINE,KYOTOSigned and dated 1995 verso,oil on canvas

24cm x 24cm (9.5in x 9.5in)

£1,500-2,500

86§ FG97/38SIR ROBIN PHILIPSONP.R.S.A., R.A., R.S.A.(SCOTTISH 1916-1992)ROUNDABOUTSigned and dated 1986 verso,watercolour

7.5cm x 10cm (3in x 4in)

£300-500

87§ FG97/39DAVID DONALDSON R.S.A.,R.P., R.G.I., L.L.D.(SCOTTISH 1916-1996)DREAMINGSigned, pastel

21cm x 24cm (8.25in x 9.5in)

£400-600



44

88§DAVID GAULD R.S.A.(SCOTTISH 1865-1936)COWSPencil


Provenance:Bourne Fine Art (1993)

£250-350

89§GLEN SCOULLER R.S.W.,R.G.I. (SCOTTISH b. 1950)BACKSTREET, ANTIBESSigned, watercolour

15.5cm x 16.5cm (6in x 6.5in)

£150-250



45

90§DAVID DONALDSON R.S.A.,R.P., R.G.I., L.L.D.(SCOTTISH 1916–1996)DRYMEN CHURCHSigned, ink

17.5cm x 21cm (7in x 8.25in)

£200-300

99§ FG97/13GARY ANDERSON R.S.W.(SCOTTISH b. 1960)THE LIGHTHOUSESigned and dated ‘87 verso,painted construction

23cm x 17cm (9in x 6.75in)

£100-200

100§ FG97/4GARY ANDERSON R.S.W.(SCOTTISH b. 1960)CHICKENS THREESigned and dated ‘97, mixedmedia

10cm x 9.5cm (4in x 3.75in)

£100-200

101§ FG97/132WILLIAM SOMERVILLESHANKS R.S.A. R.S.W.(SCOTTISH 1864–1951)HALF LENGTH PORTRAIT OFJOHN HENDERSONSigned, oil on canvas


£100-200

102§ FG97/133ATTRIBUTED TO WILLIAMSOMERVILLE SHANKSPORTRAIT OF A LADYOil on canvas

76cm x 60cm (30in x 23.5in)

£100-200

91§ FG97/40KENNETH MACKENZIE(SCOTTISH)HAMMATETSigned and dated Jan’86, ink

25cm x 35cm (9.75in x 13.75in)

£100-200

92§ FG97/56HELEN WILSON R.S.W.,R.G.I., P.A.I.(SCOTTISH b. 1954)CLOSE FITTINGSigned, oil on board

14.5cm x 14.5cm (5.75in x 5.75in)

£200-300

93§ FG97/67GARY ANDERSON R.S.W.(SCOTTISH b. 1960)AND STILL MY HEART HASWINGSSigned and dated ‘85, pastel

59cm x 39cm (23.25in x 15.5in)

£100-200

94§ FG97/114DANNY FERGUSON R.S.W.,R.G.I. (SCOTTISH 1925–1993)GOVAN FERRYSigned and dated ‘62, ink

34cm x 50cm (13.5in x 19.75in)

£150-250

95§ FG97/136ALEXANDRA GARDNER(SCOTTISH b. 1945)DOVESSigned, watercolour

17cm x 19cm (6.75in x 7.5in)

£100-200

96§ FG97/148AALEXANDER GOUDIE R.P.,R.G.I. (SCOTTISH 1933-2004)TAM O’SHANTER - THECHASEArtist’s proof, signed andinscribed, colour print

36cm x 51cm (14.25in x 20in)

£100-200

97§ FG97/125SHONA BARR(SCOTTISH b. 1965)HAWTHORN HEDGESigned, gouache

30cm x 38cm (11.75in x 15in)

£100-200

98§ FG97/50TOM WILSON (SCOTTISH)A DAY IN THE LIFE OFSigned, mixed media

30cm x 27cm (11.75in x 10.5in)

£150-250



46

103§ FG97/1JOHN MCGHIE R.S.A., R.S.W.(SCOTTISH 1867-1952)AGNES WITH STRIPEDHEADSCARFSigned, oil on canvas

44cm x 34cm (17.25in x 13.5in)

Note:This painting was used as the frontcover illustration for NanzieMcLeod’s biography of hergrandfather, John McGhie, who hadthe studio before Cunningham. Thisand the next painting werediscovered in the studio.

£3,000-5,000

104§ FG97/6JOHN MCGHIE R.S.A., R.S.W.(SCOTTISH 1867 - 1952)TWO WOMEN AT DUSKSigned, oil on canvas

44cm x 34cm (17.25in x 13.5in)

Literature:Illustrated in Nanzie McLeod, JohnMcGhie, page 67.

Note:Discovered in the studio.

£1,500-2,500



47



49

104 FG97/33HERIZ CARPETNORTHWEST PERSIA, EARLY20TH CENTURYThe ivory field with alloverangular foliate design, withinindigo turtle palmette border

348cm x 248cm (137in x 97.5in)

£400-600

107 FG97/31CHINESE BLUE AND WHITEPORCELAIN MOONFLASK19TH CENTURYPainted with figures, 35cm(13.75in); and associatedcolumn, 64cm (25in) high (2)

£200-300

109 FG97/23COLLECTION OFDECORATIVE CERAMICSIncluding: a pair of ‘wallydugs’, Indian hookah base,various studio pottery etc.(qty)

£200-300

108 FG97/53CHINESE BLUE AND WHITEPORCELAIN VASE19TH CENTURYTransitional style, of balusterform painted with prunusblossom (repairs)

59.5cm (23.5in) high

£250-350

FURNITURE & OBJECTS

105 FG97/32LARGE INDIAN BRASS FRAMED UPHOLSTEREDCENTRE STOOLISNAGAR N GUJARAT, KADI PRANT, BARODA STATEThe rectangular seat covered in blue striped fabric,on moulded frame with bold paw feet, labels toframe

220cm (86.5in) long, 45cm (17.75in) high, 130cm (51in) deep

£1,200-1,800

110 FG97/153LATE VICTORIAN PITCH PINEAND BEECH DOUBLE SIDEDARTIST’S STUDIO EASELROBERTSON AND CO., 99LONG ACRE, LONDONOf typical extending form,with maker’s plaque

approximately 205cm (81in) high,

unextended, 56.5cm (22.25in) wide

£800-1,200

111 FG97/152TWO ARTIST’S EASELSWith adjustable tripod bases;and two travelling easels (4)

£150-250

112 FG97/167COLLECTION OF STUDIOITEMSIncluding: paint brushes,palette board, stoneware pots,table, chair etc (qty)

£150-250

113-120No lots



50

Locomotive was to her as a writer and artist. Actor AlanCumming, living in Glasgow at the time, describes it as ‘an actof whimsy, bravado and passion that connected on anemotional level with the Scottish people – it changed my viewof what art could be’.

Two years later, George, then 68 and a decade into a full-timecareer as an artist, turned up for the launch of The Paper Boatin a white boiler suit and wearing a sailing captain’s hat on hishead. He conducted a choir that sang a jaunty ditty he’d pennedcalled The Paper Boat Song; an industrial chaplain from thenearby shipyards blessed the boat and then renowned Scotsauthor and social commentator, Naomi Mitchison, launched iton a journey which took it all around the world. It even saileddown the Hudson and into the World Financial Center in NewYork. For the US leg of its journey, George had added texts fromAdam Smith’s The Theory of Moral Sentiments inside the boat.George – and his Paper Boat – ended up making a splash onthe front cover of the Wall Street Journal.

George Wyllie’s definition of public art was ‘art the public can’tavoid’ - and there was no avoiding George’s scul?tures. Hestarted calling himself a scul?tor, and his work scul?ture, in1976, because he said the question mark should be central toall things. His constantly questioning approach to making arthad a major influence on a generation of young artists. Leadingcontemporary Scottish artists, such as Douglas Gordon andRoderick Buchanan, have spoken about the impact George’swork made on their own approach to making art. George feltthat art should be taken out of art galleries and into the widerpublic realm. He believed artists should think BIG and that theyhad an important socio-political role to play in society.

George Wyllie was born in Shettleston on Hogmanay, 1921. Artand music played a part in his life from a young age thanks tohis creative mother, Harriet, who taught her elder son and hisyounger brother, Banks, to draw and paint, to play musicalinstruments and to dance. In the late 1930s, the two brothersappeared on the X-Factor of its day, a wireless programme onthe BBC called Carroll Levis and His Discoveries, which had anaudience of millions.

George, who played in bands all his life, would have loved tomake a career in music, but he started his working life as anengineer for the Post Office in Govan. This safe and ‘dull’ jobended when the war took him to sea as an engineer with theRoyal Navy in 1942. He met his wife Daphne at a dance inGosport during a spell of leave. While serving in the Pacific, hepaid a visit to the ruined city of Hiroshima with some shipmatesafter the atomic bomb dropped, and it sparked a lifelong

52

George Wyllie M.B.E., A.R.S.A., R.G.I. (1921-2012)

In the beginning, I thought I knew George’s work, but it turnsout I knew nothing.

Before getting involved with helping to cement the Wyllie legacyas an artist of international importance (as one of theorganisers of the award-winning Whysman Festival), I knewGeorge had created the Straw Locomotive, a life sized strawengine which hung from the Finnieston Crane in Glasgow forsix weeks during the summer of 1987. I also knew about ahuge Paper Boat which he launched into the River Clyde withno little fanfare from beneath the same crane two years later.Both these events received an enormous amount of press andpublicity. George, a retired Customs and Excise officer, turnedfull time artist, had a knack for masterminding big events. Hewas articulate and he was a showman.

After it was taken down from the crane, George’s Straw Locowas paraded through the streets of Glasgow on the back of alorry (with its boiler-suited maker inside). It was thenceremonially burned at the site of a former engineering worksin Springburn. A lone piper played a lament and grown men,who had worked on that very site making engines which weresent all over the world, cried. Our Makar (or national poet) LizLochhead has spoken about how important the Straw



53

concern for environmental issues. After the war, Georgebecame a customs and excise officer in Greenock. A promotionsaw him moved to Northern Ireland, where he worked on theland boundary patrol across the border.

Although music was a constant throughout his life, he only‘made time for art’ from the mid-1960s. By then he was settledin Gourock with Daphne and two daughters; Louise and Elaine.He initially took lessons in oil painting, but it was only when heattended welding classes at a local college that his imaginationwas fired by the possibilities.

The rest is the stuff of contemporary art history. With theenergy of a man half his age, George began to create magicalworks of art in the basement cellar of his bungalow high abovethe Firth of Clyde. He started with a Ten Object Plan and thisincluded a selection of what he later called his ‘crusty objects’;a dancing lamppost, a mortgage climbing up a wall, a bishopwhich gave the viewer a blessing when rocked back and forth.A crucifix was accepted by the Royal Scottish Academy andsold to a church in Barrow-on-Furness, attracting the interestand friendship of the Queen’s sculptor, Benno Schotz.

During this period, he continued to work at the Customs Officein Greenock, spending every spare moment drawing, planningand welding. In 1976, three years before becoming a full-timeartist, he mounted his first solo show, Scul?ture, at the CollinsExhibition Hall, (which became Strathclyde University’s CollinsGallery). Wyllie was on his way as an artist. His work, much ofit made from scrap metal materials, found its way intochurches, pubs, clubs, restaurants and other public spaces.

By the early 1970s, through Edinburgh-based artist andpromoter Richard Demarco, his horizons began to expand andhe came into contact with the wider art world, which in turn ledhim to the front door of American kinetic sculptor, GeorgeRickey, who had grown up in Helensburgh. He also metGerman conceptual artist Joseph Beuys and during the 1980sspent time with him at his home in Germany.

During the 1980s, through an ongoing association with theThird Eye Centre in Glasgow, an exhibition called A Day Down aGoldmine, morphed into a play, starring George and a variety ofwell-known actors, including Russell Hunter and Bill Paterson.This award-winning play, with words, music and props all byGeorge, played throughout the 1980s in venues around the UK.

From the early 1990s until 2008, George continued to work likea man possessed; making, writing and creating. His output wasprolific. His last major exhibition in 2006 was called TheCosmic Journey and drew together material spanning some 40

years to illustrate his constant search for balance – orequilibrium, as he called it.

His wife Daphne died in 2004 and by 2010 he was living in ahome for retired mariners in Greenock. In early 2011, his elderdaughter, Louise Wyllie, asked me to chair a group she’d setup called The Friends of George Wyllie. The idea was that wewould celebrate his work and make him feel that he had madea difference. George died in May 2012, just a week after wesecured Creative Scotland funding to make sure his legacy wascelebrated and shared with a new generation.

The first time I met George Wyllie properly, in 2011, hedemanded to know: ‘What’s your passion? The best thingyou’ve ever done?’ The thing about George, I have come tolearn, is that he asked direct questions: of you as a person,your heritage, your creativity, and your whole philosophy on theworld in which you find yourself living.

George Wyllie made things happen. He did it with passion andwith humour. When you use humour as a weapon, po-facedpeople occasionally mistake it for a light touch. What liesbeneath is the key.

Jan PatienceArts writer

54

121 FG290/1GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)RUSTY QUESTION MARKMild steel

43.5cm x 31cm (17.25in x 12.5in)

£200-300



55

123 FG290/28GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I.(SCOTTISH 1921-2012)FOUR TERRACOTTA PUFFERSPainted cement (4)

largest 48cm x 44cm x 10cm (19in x 17.5 x 4in)

Note:From the Argyll installation of the proposed puffertrail, part of the Para Handy project.

£400-600

122 FG290/22GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921- 2012)SHAFTEDMild steel, wood, brass

20cm x 25cm x 22cm

(7.75in x 9.75in x 8.75in)

£200-300

126 FG290/5GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)AFTER THE SAILSigned and dated ‘65 verso,oil on board

38cm x 18cm (15in x 7.25in)

and another, COLUMBA (2)

£150-250

128 FG290/10GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)HOLIDAY SKETCHES,FRANCESigned and dated ‘66, ink andwatercolour, a group of five (5)

10.5cm x 15.5cm (4.5in x 6.5in)

Note:From the Wyllies’ first holidayabroad.

£300-500

127 FG290/8GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)MOORING AT GOUROCKSigned and dated ‘77,watercolour

39cm x 28cm (15.5in x 11in)

and another, ROYAL YACHTBRITANNIA (2)

£200-300

56



125 FG290/3GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)ST. MALOSigned, oil on canvas laiddown on board

46cm x 39.5cm (18.25in x 15.75in)

£200-300

124 FG290/4GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)BUM BOATSSigned and dated ‘65 verso,oil on board

66cm x 50cm (26in x 19.75in)

£200-300

57



130 FG290/34GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)CUMBRAEMild steel, wood

68cm x 16cm x 15cm

(26.75in x 6.5in x 6in)

Note:This is one of George’s earliestsculptures.

£500-800

129 FG290/31GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)THE LAUNCHStainless steel

77cm x 10cm x 18cm

(30.25in x 4in x 7.25in)

Note:The larger work of the same nameis at Elder Park, Govan, Glasgow.

£2,000-3,000

131 FG290/236GEORGE WYLLIE M.B.E.,A.R.S.A, R.G.I.(SCOTTISH 1921-2012)PUFFERMixed media

45cm x 60.5cm

(17.75in x 23.75in x 2in)

£200-300

132 FG290/11GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)OYSTER NETSSigned and dated ‘68, ink andwatercolour

18cm x 18cm (7.25in x 7.25in)


£150-250



58

133 FG290/15GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)CUSTOMS & EXCISEDRAWINGSA group of four pencildrawings (4)

each approximately 12cm x 17cm

(4.75in x 6.75in)

£300-500

134 FG290/13GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)AND DOES THIS MEAN I’MCLEARED BY CUSTOMSOFFICER?Signed, ink

16cm x 16cm (6.5in x 6.5in)

and CUSTOMS OFFICERABOUT TO PUT A SEAL ONAN OIL TANKER (2)

£150-250

135 FG290/17GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)LE MOBILEPencil

22cm x 29cm (8.75in x 11.5in)

and CREST (2)

£150-250

136 FG290/20GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I.(SCOTTISH 1921-2012)THE PARA HANDY SUITESigned and dated ‘78, watercolours, a group of twelve (12)


£1,000-1,500



59

60



138 FG290/50GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)HOMAGE TO HORNBYMild steel

46cm x 50cm x 50cm

(18.25in x 19.75in x 19.75in)

£700-1,000

137 FG290/49GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)RAILWAY SIGNALSMild steel

50cm x 60cm x 8cm

(19.75in x 23.5in x 3.5in)

£300-500

61



139 FG290/55GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)JARRY’S PASSIONMixed media

57cm x 58cm x 14cm

(22.5in x 22.75in x 5.5in)

Note:Alfred Jarry (1873-1907) translatedhis love of cycling into the world ofliterature. His writings had aprofound influence on the surrealistand Dada movements. He was thecreator of ‘Pataphysics’ whichGeorge admired.

£200-300

140 FG290/51GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I.(SCOTTISH 1921-2012)UNITYMild steel

21cm x 100cm x 25cm (8.5in x 39.5in x 9.75in)

£600-900

62



142 FG290/240GEORGE WYLLIE M.B.E.,A.R.S.A, R.G.I.(SCOTTISH 1921-2012)EAGLE ON PYRESigned and dated ‘83, mixedmedia


£200-300

141 FG290/244GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)RED EAGLEPaint on blanket

34cm x 99.5cm (13.5in x 39in)

£300-500

144 FG290/238GEORGE WYLLIE M.B.E.,A.R.S.A, R.G.I.(SCOTTISH 1921-2012)ALL AMERICAN EAGLESigned and dated ‘68, mixedmedia

11cm x 17cm (4.5in x 6.75in)


£150-250

145 FG290/237GEORGE WYLLIE M.B.E.,A.R.S.A, R.G.I.(SCOTTISH 1921-2012)ALL AMERICAN KNOCKERSigned and dated ‘83,watercolour

41cm x 29cm (16in x 11.5in)

and three others similar (4)

£300-500

63



143 FG290/68GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)AMERICANTRANSPORTATION EAGLEChrome bumpers and mixedmedia

70cm x 150cm x 25cm

(27.5in x 39.5in x 9.75in)

£800-1,200

146 FG290/57GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)ADLERSigned and dated ‘88, mixedmedia

23cm x 9cm (9in x 3.5in)

£100-200



64

147 FG290/239GEORGE WYLLIE M.B.E.,A.R.S.A, R.G.I.(SCOTTISH 1921-2012)ALL AMERICAN TOILETTISSUESigned and dated ‘83,charcoal



£200-300

148 FG290/242GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)ABSTRACTSigned and dated ‘82, mixedmedia

29cm x 21cm (11.5in x 8.25in)

£150-250

149 FG290/65GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)ON STATEN ISLAND FERRYA group of six pencil drawings(6)

each 28cm x 20cm (11in x 7.75in)

£300-500

150 FG290/77GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)A SCULPTURAL PARADE OFBRICK-A-BATSigned and dated ‘89, mixedmedia

41cm x 58.5cm (16.25in x 23in)

and AMERICANA (2)

£200-300

153 FG290/230GEORGE WYLLIE M.B.E.,A.R.S.A, R.G.I.(SCOTTISH 1921-2012)RESTRICTED ZONEMarble and mixed media

26.5cm x 5cm x 4cm

(10.5in x 2in x 1.75in)

£150-250



65

151 FG290/232GEORGE WYLLIE M.B.E.,A.R.S.A, R.G.I.(SCOTTISH 1921-2012)POINTING FINGERMarble

35cm x 16cm x 5cm

(13.75in x 6.5in x 2in)

£200-300

152 FG290/206GEORGE WYLLIE M.B.E.,A.R.S.A, R.G.I.(SCOTTISH 1921- 2012)WHITE QUESTION MARKWood

64cm x 28cm (25.25in x 11in)

£150-250

67



154GEORGE WYLLIE M.B.E, A.R.S.A., R.G.I (SCOTTISH 1921-2012)STRAW LOCOMOTIVEStraw and mixed media

98cm x 23cm x 38cm (38.5in x 9in x 15in)

Note:The Straw Locomotive, George Wyllie’s powerful full scale rendition of aclassic steam train, which hung from Glasgow’s Stobcross crane during thesummer of 1987, is widely credited as one of the defining moments inScottish art in the late 20th century. It secured Wyllie’s reputation as an artistof international standing. The seeming insubstantiality of the piece waswidely understood and appreciated as a commentary on the loss of the Westof Scotland’s traditional heavy industries. Wyllie’s subsequent Viking funeralfor the piece was typical of his bravura theatricality but did nothing todiminish the standing of the work in public memory.While the original Straw Locomotive survives only in images and memory,this second smaller version, a metre-long replica of the original, wascommissioned on behalf of the City of Glasgow to form part of The Big Model,the highly imaginative centrepiece of Glasgow’s 1994 bid for the title UK Cityof Architecture and Design 1999. George Wyllie, hauling the StrawLocomotive Mark 2 onto the model crane (guided by Professor AndyMacMillan), gave the Glasgow bid substantial television coverage at the time.

£10,000-15,000

155 FG290/100AGEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)STRAW LOCOMOTIVEPrint on board

152.5cm x 91.5cm (60in x 36in)

£150-250See illustration opposite

157 FG290/118GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)MYKONOSSigned and dated ‘72 verso,oil on canvas and brush

30cm x 45cm (11.75in x 17.75in)

£200-300



68

158 FG290/119GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)POROSSigned and dated ‘81,watercolour

52 x 73cm (20.5 x 28.75in)

£200-300

156 FG290/117GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)GREEK SHIPMild steel

24cm x 34cm x 9cm

(9.5in x 13.5in x 3.75in)

£400-600

159 FG290/246GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I.(SCOTTISH 1921-2012)MADRAS AND BANGALORESigned and dated 1983, mixed media, a pair (2)

95cm x 36cm x 9cm (37.5in x 14in x 3.5in)

£600-900



69

160GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)A SHORT HISTORY OFAVIATIONSigned and dated ‘81, ink

32.5cm x 45cm (12.75in x 17.75in)

£200-300

162GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)29 BOMBSSigned and dated ‘83, ink

41cm x 28cm (16.25in x 11in)

£150-250



70

161GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)IN MEMORIAMInk

34cm x 28cm (13.5in x 11in)

£150-250

163 FG290/231GEORGE WYLLIE M.B.E.,A.R.S.A, R.G.I.(SCOTTISH 1921-2012)FLYING BOATMild steel and bark

48cm x 44cm x 32cm

(18.75in x 17.5in x 12.75in)

£500-800

164 FG290/132GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)THREE BOMBSMild steel (3)

Largest 40cm x 14cm x 14cm

(15.75in x 5.5in x 5.5in)

£600-900



71

165 FG290/100GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)PAPER BOATDigital print

91cm x 123cm (35.5in x 48.5in)

£200-300

166 FG290/224AGEORGE WYLLIE M.B.E., A.R.S.A,R.G.I. (SCOTTISH 1921-2012)LE BATEAU IVRE / THE DRUNKENBOATSigned and dated ‘92 & 2002, aset of eight colour prints (8)

35cm x 27cm (13.75in x 10.5in)

£300-500



72

167 FG290/224GEORGE WYLLIE M.B.E.,A.R.S.A, R.G.I.(SCOTTISH 1921-2012)PAPER BOAT CERTIFICATEEmbossed paper and ink


£150-250

168 FG290/245GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)THE PAPER BOAT SONGDated 1989, blue vinyl record,framed

disc 17.5cm diameter (6.75in)

£100-200

171 FG290/112GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)SALTIRE FLAGStainless steel

194cm x 33cm (76.25in x 13in)

£500-800



73

170 FG290/104GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)PAPER BOAT FLAGMild steel

52cm x 25cm x 2cm

(20.5in x 9.75in x 0.5in)

£400-600

169 FG290/229GEORGE WYLLIE M.B.E.,A.R.S.A, R.G.I.(SCOTTISH 1921-2012)GOLD AND SLATE BOATOn a slate base (2)

49cm x 33cm x 7cm

(19.5in x 14in x 2.75in)

£250-350

172 FG290/171GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)CUNARD STONE BAGMixed media

25cm x 35cm x 14cm

(10in x 13.75in x 5.5in)

£200-300

173 FG290/176GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)STONE MEASURE WHEELMixed media

107cm x 23cm x 15cm

(42in x 9in x 6in)

£200-300



74

174 FG290/174GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)EDINBURGH ROCKMixed media

15cm x 12cm x 4cm

(6in x 4.75in x 1.75in)

and two others, both ROCKMUSIC (3)

£300-500

175 FG290/177GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)STONE SEAT ANDHEADPHONESSigned and dated 1996 tounderside, mixed media

55cm x 57cm x 50cm

(21.75in x 22.5in x 19.75in)

£400-600



75

76



77



176 FG290/219GEORGE WYLLIE M.B.E., A.R.S.A, R.G.I.(SCOTTISH 1921- 2012)FIVE ASIDEMixed media, six items (6)

Tallest 115cm x 120cm x 55cm

(45.25in x 47.25in x 21.75in)

Note:This work was comissioned for the UEFA Euro ‘96football competition and was displayed in variouslocations in Manchester that summer.

£8,000-12,000

177 FG290/158GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)EAST OR WEST HOME ISBESTSigned and dated 1988 &1999, mixed media

32cm x 61cm (12.5in x 24in)

£300-500

179 FG290/153GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)A BIRD IS NOT A STONEMARCHSigned and dated 1991, penciland ink

25cm x 56cm (9.75in x 22in)

£200-300



78

178 FG290/156AGEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)BERLIN BURDSigned and dated ‘88, mixedmedia

25cm x 36.5cm (9.75in x 14.25in)

£200-300

180GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I.(SCOTTISH 1921-2012)GOING SOMEWHERE, WAITING FORSOMEONEDated 25/11/88, mixed media

56cm x 40cm (22in x 15.75in)

also BEHOLDER OF OBJECTS andVICTIM OF AFFLUENCE (3)

£600-900

181GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I.(SCOTTISH 1921-2012)BAND BELTSigned and dated ‘82, ink and watercolour

27cm x 21cm (10.75in x 8.5in)

and ANKOFT/ARRIVALS (2)

£200-300



79

182GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)A BIRD IS NOT A STONEMARCHSigned and dated 1991, penciland ink

25cm x 56cm (9.75in x 22in)

£200-300

185GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)THE BERLIN CRITICSigned and dated ‘87, ink andwatercolour

38cm x 22cm (15in x 8.75in)

£100-200

184GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)GERMANS EATING THEL1200 MENUSigned and dated '72, ink

20cm x 27.5cm (8in x 10.75in)

and another, YA (2)

£200-300

183GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)A BIRD IS NOT A STONESigned and dated 1991, penciland ink

56cm x 25cm (22in x 9.75in)

£200-300

80



186 FG290/178GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)HOPE IS HARDStainless steel, slate

132cm x 176cm x 100cm

(52in x 69.25in x 39.25in)

£2,000-3,000

81

188 FG290/179GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)CRYSTALStainless steel, stone

40cm x 50cm x 26cm

(15.75in x 19.75in x 10.25in)

£600-900

187 FG290/182GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)THE WORLD IS SMALLCHERRIES ARE BIGMixed media

96cm x 55cm x 30cm

(37.75in x 21.75in x 11.75in)

£2,500-3,500



189GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I.(SCOTTISH 1921-2012)MIRAGESigned and dated ‘78, watercolour

17cm x 83cm (6.75in x 32.75in)

£250-350

191GEORGE WYLLIE M.B.E., A.R.S.A, R.G.I.(SCOTTISH 1921-2012)ON THE LINKSSigned and dated ‘78, watercolour

17cm x 83cm (6.75in x 32.75in)

£250-350



82

190GEORGE WYLLIE M.B.E., A.R.S.A, R.G.I. (SCOTTISH 1921-2012)UNTITLEDSigned and dated ‘78, watercolour

17cm x 83cm (6.75in x 32.75in)

£250-350



83

193 FG290/201GEORGE WYLLIE M.B.E.,A.R.S.A, R.G.I.(SCOTTISH 1921-2012)SURVIVAL KITSigned and dated ‘76, mixedmedia

68cm x 17 x 6cm

(26.75in x 6.75in x 2.5in)

£200-300

194 FG290/205GEORGE WYLLIE M.B.E.,A.R.S.A, R.G.I.(SCOTTISH 1921- 2012)BAGELBronze

12cm x 13cm x 2.5cm

(4.75in x 5.25in x 1in)

£200-300

192 FG290/85GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)BLACK QUESTION MARKMild steel

55.5cm x 28cm (21.75in x 11in)

£200-300

196 FG290/142GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)MARCHING TO THEKLONDYKESigned and dated ‘97, mixedmedia

15cm x 47cm (5.75in x 18.5in)

£150-250

195 FG324/2GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921 2012)KEEP YOUNG ANDBEAUTIFULStainless steel and cast iron

£1,000-1,500



84

197 FG290/141GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)WEATHER CLOTSigned and dated ‘80, mixedmedia

40cm x 29cm (15.75in x 11.5in)

£100-200



198 FG290/169GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)CRAGMild steel

430cm x 110cm x 110cm

(169.25in x 43.25in x 43.25in)

Note:This was an early RSA exhibit andalso used to sit outside the frontdoor to the Wyllies’ home inGourock.

£2,000-3,000

199 FG290/195GEORGE WYLLIE M.B.E.,A.R.S.A, R.G.I.(SCOTTISH 1921-2012)A SELECTION OF HARD ANDSOFT CHEESESSigned and dated ‘78, ink

28cm x 17cm (11in x 6.75in)


£200-300

200 FG290/198GEORGE WYLLIE M.B.E.,A.R.S.A, R.G.I.(SCOTTISH 1921-2012)GAWD AND THE CHILDRENOF GAWDSigned and dated ‘85, ink andwatercolour

35cm x 27cm (13.75in x 10.75in)

£150-250

85



86

201 FG290/187GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I.(SCOTTISH 1921-2012)MISS CRANSTON SLEPT HEREMixed media, three parts (3)

table 92cm (36in) high, chair 240cm (94.5in) high,

panel 152cm (60in) high

£500-800

203 FG290/192GEORGE WYLLIE M.B.E.,A.R.S.A, R.G.I.(SCOTTISH 1921-2012)YER AIN HI-FIRESIDEMixed media

86cm x 80cm x 33cm

(36.75in x 31.5in x 13in)

£400-600



87

202 FG290/203GEORGE WYLLIE M.B.E.,A.R.S.A, R.G.I.(SCOTTISH 1921- 2012)FOR YOUOOOMixed media

105cm x 65cm x 25cm

(41.25in x 25.5in x 9.75in)

£600-900

204 FG290/43GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)CRADLEStainless steel, stone

55cm x 245cm x 44cm

(21.75in x 96.5in x 17.5in)

£800-1,200



88

205 FG290/211GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)KEMPOCK REACHSteel, wood

342cm x 234cm x 40cm

(134.75in x 92in x 15.75in)

£1,000-1,500



89

206 FG290/168GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)NO SMOKING LIFE BELTMixed media

75cm x 75cm (29.5in x 29.5in)

£300-500

207 FG290/167GEORGE WYLLIE M.B.E.,A.R.S.A., R.G.I.(SCOTTISH 1921-2012)ACCORDIANMild steel

68cm x 65cm x 35cm

(26.75in x 25.5in x 13.75in)

£600-900



90



91

209 FG290/207GEORGE WYLLIE M.B.E., A.R.S.A, R.G.I.(SCOTTISH 1921- 2012)COSMIC BONNETMixed media

43 x 61 x 10cm (16.75in x 24in x 4in)

also BOOTS OF ICARUS; and COSMICREACH, giclee print (3)

£500-800

208 FG290/208GEORGE WYLLIE M.B.E.,A.R.S.A, R.G.I.(SCOTTISH 1921- 2012)UP ARROWStainless steel, marble

239cm x 36xm x 5cm

(94in x 14.25in x 2in)

Note:This and the following lot are from the‘Cosmic Voyage’ exhibition.

£1,000-1,500

212 FG290/202GEORGE WYLLIE M.B.E.,A.R.S.A, R.G.I.(SCOTTISH 1921- 2012)PINHEADSigned and dated ‘99, ink andcharcoal

13cm x 9cm (5.25in x 3.5in)

£100-200

92



211 FG290/225GEORGE WYLLIE M.B.E.,A.R.S.A, R.G.I.(SCOTTISH 1921-2012)TIME MAGAZINE COVERSA group of five watercolours(5)

29.5cm x 22cm (11.75in x 8.75in)

£500-800

210 FG290/227GEORGE WYLLIE M.B.E., A.R.S.A, R.G.I.(SCOTTISH 1921-2012)THE VIKINGSSigned and dated 2002, mixed media

48cm x 87cm (18.75in x 34.25in)

£300-500

215§ FG290/257JACK KNOX R.S.A., R.S.W., R.G.I.(SCOTTISH b. 1936)THE GOODSHIP WYLLIESigned, oil on board

44.5cm x 58.5cm (17.5in x 23in)

and SCULPTORS BIKE, gouache (2)

£300-500

93



214§ FG290/254REINHARD BEHRENS(GERMAN b. 1951)THE COUNCIL AND THE SOCIETYOF SCOTTISH ARTISTSGRATEFULLY ELECTS GEORGEWYLLIEDated Dec 1989, mixed media

41.5cm x 28cm (16.5in x 11in)

£150-250

OTHER ARTISTS

213§ FG290/228KENNY MUNRO (SCOTTISH b. 1954)BUST OF GEORGE WYLLIEDated 1994, plaster, on painted iron plinth

bust 33cm high, 61cm high overall (13in x 24in)

£200-300

216§JOHN BELLANY C.B.E.,H.R.S.A., R.A., L.L.D.(SCOTTISH b. 1942)WOMAN AND FISHBONESigned, 1/50, etching

26cm x 26cm (10.25in x 10.25in)

£200-300

218§RICHARD DEMARCO C.B.E.(SCOTTISH b. 1930)THE ROAD TO MEIKLESEGGIESigned and dated May 1978,pencil and gouache

24cm x 17cm (9.5n x 6.75in)

and THE ROAD TOSALISBURY CRAGS, etching(2)

£200-300



94

217§WILLIE RODGER R.S.A., R.G.I.(SCOTTISH b. 1930)GILMOURS WHITECROSSWATCHES THE SPINSTERSGO BYSigned and dated ‘77, penciland ink

42.5cm x 55cm (16.75in x 21.5in)

£150-250

219§ FG290/256BARBARA RAE C.B.E., R.A.,R.S.A., R.S.W., R.G.I.(SCOTTISH b. 1943)GLASGOW REFLECTIONSSigned and dated ‘75, mixedmedia

50cm x 67.5cm (19.75in x 26.5in)

£300-500

221§ FG290/252BET LOW A.R.S.A, R.S.W.,R.G.I. (SCOTTISH 1924-2007)UNTITLEDSigned, gouache

11.5cm x 11.5cm (4.5in x 4.5in)

£100-200



95

220§ FG290/248RODERICK BUCHANAN(SCOTTISH b. 1965)UP YER KILT / ENGLANDSUITPhoto collage

26.7cm x 42.7cm (10.5in x 16.75in)

£150-250

223§ FG290/247BARBARA RAE C.B.E., R.A.,R.S.A., R.S.W., R.G.I.(SCOTTISH b. 1943)ALERTSigned and dated ‘75, artist’sproof, lithograph

27cm x 22.5cm (10.75in x 8.75in)

£100-200

224§ FG290/255GORDON H. WYLLIE R.S.W.(SCOTTISH b. 1930)ABSTRACT LANDSCAPESigned and dated ‘64, mixedmedia

12cm x 59.5cm (4.75in x 23.5in)

£100-200

225§ FG290/260WILLIAM LIONEL WYLLIER.A. (BRITISH 1851 -1931)BOATS AT SAILSigned, etching

8.5cm x 35.5cm (3.5in x 14in)

and two others by the samehand (3)

£300-500

96



222§ FG290/251MARGOT SANDEMAN(SCOTTISH 1922-2009)SHELTERING SHEEPSigned and dated ‘90, pen andcrayon

20.5cm x 20.5cm (8in x 8in)

£150-250

FURNITURE & OBJECTS

226 FG290/233TIM STEAD(ENGLISH 1952-2000)COFFEE TABLEStained pine

85cm (35in) diameter, 45cm

(17.75in) high

£200-300

227 FG290/234DAVID BOOTH & JUDITHLEDEBOER FOR GORDONRUSSELL LTD.‘UTILITY’ SIDEBOARDMahogany and rosewood

122cm (48in) wide, 84cm (33in) high,

46cm (18in) deep

Note:Designed for The Festival of BritainExhibition in 1951

£300-500



97

230 FG290/261COLLECTION OF STUDIOOBJECTSIncluding: carved wood andcast metal figures, ‘wallydug’, train plaque,candlesticks, faux goldblocks, conjoined whiskybottles etc. (qty)

£100-200

END OF SALE

228 FG290/235ATTRIBUTED TO D. M. KIRKNESSORKNEY CHILD’S CHAIROak, straw and rush

54cm wide (21.25in) , 83cm (32.75in) high,

45cm (17.5in) deep

£200-300

229 FG290/259DOUGLAS DAVIES R.S.W.(SCOTTISH b. 1946)EARTHENWARE POT ANDCOVERSigned and dated 1972; 33cm(13in) high; and a tree/headpot, initalled MS, 35cm(13.75in) high (2)

£100-200



98

THE GEORGE WYLLIE FOUNDATIONThe George Wyllie Foundation aims to be a permanent celebration of an internationally renowned Scottish artist who worked across many art forms, including sculpture, performance and the written word. George Wyllie’s legacy was enhanced in 2012 with the award-winning Whys?man Festival.

A generous gift has made it possible to acquire key works from across George’s career and the Wyllie family has opened his personal archive to enable a deeper

The Foundation has ambitious aims to secure a “Wyllieum”, a place to show key works on a permanent basis along with exhibitions of works by George and hiscontemporaries; to ensure touring exhibitions are mounted and that loans are made available. It is also a central tenet of the Wyllie art-for-all approach that education projects continue to involve and inspire people of all ages.

The George Wyllie Foundation only recently received charitable status through

the end of August in Greenock.

We would be delighted if you would be involved as a supporter and to be part of this vital next chapter to ensure that George Wyllie’s reputation and his message continues.

Please visit www.georgewyllie.com for more information.

Anderson, G., 93, 99, 100

Barr, S., 97Behrens, R., 214Bellany, J., 216Buchanan, R., 220

Cunningham, J., 1-79

Demarco, R., 219Devlin, G., 83Donaldson, D., 87, 90

Ferguson, D., 94

Gardner, A., 95Gauld, D., 88Goudie, A., 82, 96

Houston, J., 86

Knox, J., 215

Low, B., 221

Mackenzie, K., 91McGhie, J., 103, 104Munro, K., 213

Philipson, Sir R., 87Picasso, P., after, 84

Rae, B., 219, 223Rodger, W., 217

Sandeman, M., 222Schotz, B., 80, 81

Scouller, G., 89Shanks, W.S., 101Shanks, W.S., attributed to,102

Wilson, H., 92Wilson, T., 98Wyllie, G., 121-212Wyllie, G.H., 224Wyllie, W.L., 225

The following expressions withtheir accompanyingexplanations are used by Lyon &Turnbull as standardcataloguing practice. Our use ofthese expressions does not takeaccount of the condition of thelot or the extent of anyrestoration.

Buyers are recommended toinspect the propertythemselves. Written conditionreports are usually available onrequest.

Name(s) or RecognisedDesignation of an Artist withoutany QualificationIn our opinion a work by theartist

Attributed to...In our opinion probably a workby the artist in whole or in part.

Studio of ... / Workshop of ...In our opinion a work executedin the studio or workshop of theartist, possible under hissupervision

Circle of ...In our opinion a work of theperiod of the artist and showinghis influence.

Follower of ...In our opinion a work executedin the artist’s style but notnecessarily by a pupil.

Manner of ...In our opinion a work executedin the artist’s style but of a laterdate

After ...In our opinion a copy (of anydate) of a work of the artist.

Signed ... /Dated ... /Inscribed ... /In our opinion the work hasbeen signed/dated/inscribed bythe artist.

BearsSignature ... /Date ... /Inscription ... /In our opinion thesignature/date/inscriptionappears to be by a hand otherthan that of the artist.

Dimensions are given heightbefore width.

Glossary of Cataloguing Terms

Index


The Studios of John Cnningham

and George Wyllie

100

Scottish Contemporary & Post-War ArtTuesday, 20th August, 201333 Broughton Place, Edinburgh EH1 3RR

www.lyonandturnbull .com

IAN HAMILTON FINLAY (SCOTTISH 1925-2006)PANZER V (PANTHERA SEMI-REDUCTA)Painted wood - a unique work and the first inthe series, with Ian Gardner, Roderick Lyle andRobin Harrison 1977/79

22.5cm x 31.5cm x 13cm (9in x 12.25in x 5in)

Provenance:Frith Street Gallery, London 1991 together with certificateof authenticity signed by the artist and dated 22nd March1991 on Graeme Murray headed notepaper

£5,000-8,000

Viewing timesThursday, 15th August 10am - 5pmFriday, 16th August 10am - 5pmSaturday 17th August 12 noon - 4pmSunday, 18th August 12 noon - 4pmMonday, 19th August 10am - 5pmMorning of sale strictly by appointment only

EnquiriesNick [email protected]

Emily [email protected]

Charlotte [email protected]

102

STANDARD TERMS &CONDITIONS OF SALE

Lyon & Turnbull carries on business withbidders, buyers and all those present inthe auction room prior to, or inconnection, with a sale on the followingGeneral Conditions and on such otherterms, conditions and notices as may bereferred to herein.

1. DEFINITIONS

In these Conditions:

(a) “Auctioneer” means the firm of Lyon &Turnbull or its authorised auctioneer, asappropriate;

(b) “deliberate forgery” means animitation made with the intention ofdeceiving as to authorship, origin, date,age, period, culture or source but which isunequivocally described in the catalogueas being the work of a particular creatorand which, at the date of the sale, had avalue materially less than it would havehad if it had been in accordance with thedescription;

(c) “hammer price” means the level ofbidding reached (at or above any reserve)when the auctioneer brings down thehammer;

(d) “terms of consignment” means thestipulated terms and rates of commissionon which Lyon & Turnbull acceptsinstructions from sellers or their agents;

(e) “total amount due” means thehammer price in respect of the lot soldtogether with any premium, Value AddedTax chargeable and any additional chargespayable by a defaulting buyer under theseConditions;

(f) “sale proceeds” means the net amountdue to the seller, being the hammer priceof the lot sold less commission at thestated rate, Value Added Tax chargeableand any other amounts due to us by theseller in whatever capacity and howeverarising;

(g) “You”, “Your”, etc. refer to the buyer asidentified in Condition 2.

(h) The singular includes the plural andvice versa as appropriate.

2. BIDDING PROCEDURES AND THEBUYER

(a) Bidders are required to register theirparticulars before bidding and to satisfyany security arrangements before enteringthe auction room to view or bid;

(b) the maker of the highest bid acceptedby the auctioneer conducting the saleshall be the buyer at the hammer priceand any dispute about a bid, which mustbe raised before the next lot is offered,shall be settled at the auctioneer’sabsolute discretion.

(c) Bidders shall be deemed to act asprincipals.

(d) Once made, no bid may be withdrawn.

(e) Our right to bid on behalf of the selleris expressly reserved up to the amount ofany reserve and the right to refuse any bidis also reserved.

3. INCREMENTS

Bidding increments shall be at theauctioneer’s sole discretion.

4. THE PURCHASE PRICE

The buyer shall pay the hammer pricetogether with a premium thereon.

25% up to £25,000 / 20% thereafter.

VAT will be charged on the premium at therate imposed by law.

5. VALUE ADDED TAX

Value Added Tax on the hammer price isimposed by law on all items affixed withan asterisk (*) or dagger (†). Value AddedTax is charged at the appropriate rate

prevailing by law at the date of sale and ispayable by buyers of relevant lots.

6. PAYMENT

(1) Immediately a lot is sold you will:

(a) pay to us the total amount due in cashor in such other way as is agreed by us.We accept cash, bank transfer (details onrequest), Switch or Debit Cards and Visaor MasterCard (please note there is asurcharge of 2% (VAT included) whenusing credit cards). We do not acceptAmerican Express.

(2) any payments by you to us may beapplied by us towards any sums owingfrom you to us on any account whateverwithout regard to any directions of you oryour agent, whether express or implied.

7. TITLE AND COLLECTION OFPURCHASES

(1) The ownership of any lots purchasedshall not pass to you until you have madepayment in full to us of the total amountdue.

(2) You shall at your own risk and expensetake away any lots that you havepurchased and paid for not later than fourworking days following the day of theauction or upon the clearance of anycheque used for payment after which youshall be responsible for any removal,storage and other associated charges.

(3) No purchase can be claimed orremoved until it has been paid for.

(4) It is the buyer’s responsibility toascertain collection procedures,particularly if the sale is not being held atour main saleroom and the potentialstorage charges for lots not collected bythe appropriate time.

8. REMEDIES FOR NON-PAYMENT ORFAILURE TO COLLECT PURCHASES

(1) If any lot is not paid for in full and takenaway in accordance with these Conditionsor if there is any other breach of theseConditions, we, as agent for the seller andon their behalf, shall at our absolutediscretion and without prejudice to anyother rights we may have, be entitled toexercise one or more of the followingrights and remedies:

(a) to proceed against you for damages forbreach of contract;

(b) to rescind the sale of that lot and/orany other lots sold by us to you;

(c) to resell the lot (by auction or privatetreaty) in which case you shall beresponsible for any resulting deficiency inthe total amount due (after crediting anypart payment and adding any resale costs).Any surplus so arising shall belong to theseller;

(d) to remove, store and insure the lot atyour expense and, in the case of storage,either at our premises or elsewhere;

(e) to charge interest at a rate of 1.5% permonth above the current base rate on thetotal amount due, to the extent it remainsunpaid for more than four working daysafter the sale;

(f) to retain that or any other lot sold toyou until you pay the total amount due;

(g) to reject or ignore bids from you oryour agent at future auctions or to imposeconditions before any such bids shall beaccepted;

(h) to apply any proceeds of sale of otherlots due or in future becoming due to youtowards the settlement of the total amountdue and to exercise a lien (that is a right toretain possession of) any of your propertyin our possession for any purpose until thedebt due is satisfied.

(2) We shall, as agent for the seller andon their behalf pursue these rights andremedies only as far as is reasonable tomake appropriate recovery in respect ofbreach of these Conditions

9. THIRD PARTY LIABILITY

All members of the public on ourpremises are there at their own risk andmust note the lay-out of theaccommodation and securityarrangements. Accordingly neither theauctioneer nor our employees or agentsshall incur liability for death or personalinjury (except as required by law by reasonof our negligence) or similarly for thesafety of the property of persons visitingprior to or at a sale.

10. COMMISSION BIDS

While prospective buyers are stronglyadvised to attend the auction and arealways responsible for any decision to bidfor a particular lot and shall be assumedto have carefully inspected and satisfiedthemselves as to its condition we shall ifso instructed clearly and in writing executebids on their behalf. Neither theauctioneer or our employees or agentsshall be responsible for any failure to doso. Where two or more commission bidsat the same level are recorded we reservethe right in our absolute discretion toprefer the first bid so made.

11. WARRANTY OF TITLE ANDAVAILABILITY

The seller warrants to the auctioneer andto you that the seller is the true owner ofthe property consigned or is properlyauthorised by the true owner to consign itfor sale and is able to transfer good andmarketable title to the property free fromany third party claims.

12. AGENCY

The auctioneer normally acts as agentonly and disclaims any responsibility fordefault by sellers or buyers.

13. TERMS OF SALE

The seller acknowledges that lots are soldsubject to the stipulations of theseConditions in their entirety and on theTerms of Consignment as notified to theconsignor at the time of the entry of thelot.

14. STANDARD VENDOR FEES ANDCHARGES (Subject to VAT)

(1) Commission: 15% of the first £3000 and10% thereafter is charged on the sellingprice of each lot (subject to a minimumcharge of £30). Loss and damagewarranty: 1.5% on value of lots sold.Photography: max £40 mono per lot, max£250 colour. Internet Marketing Service:£10 per lot.

(2) If a vendor wishes to withdraw a lotorganized for sale, a withdrawal fee willapply;

(a) If withdrawn over 28 working days priorto the sale, this will be charged at 10% ofthe mid estimate along with any ancilliaryincurred (such as photography), all subjectto VAT at the current rate.

(b) If withdrawn within 28 working days ofthe sale, this will be charged at 20% of themid estimate along with any ancilliaryincurred (such as photography), all subjectto VAT at the current rate.

15. DESCRIPTIONS AND CONDITION

(1) While we seek to describe lotsaccurately, it may be impractical for us tocarry out exhaustive due diligence on eachlot. Prospective buyers are given ampleopportunities to view and inspect beforeany sale and they (and any independentexperts on their behalf) must satisfythemselves as to the accuracy of anydescription applied to a lot. Prospectivebuyers also bid on the understanding that,inevitably, representations or statementsby us as to authorship, genuineness,origin, date, age, provenance, condition orestimated selling price involve matters ofopinion. We undertake that any suchopinion shall be honestly and reasonably

held and accept liability for opinions givennegligently or fraudulently. Subject to theforegoing neither we the auctioneer or ouremployees or agents or the seller acceptliability for the correctness of suchopinions and all conditions andwarranties, whether relating todescription, condition or quality of lots,express, implied or statutory, are herebyexcluded. This Condition is subject to thenext following Condition concerningdeliberate forgeries and applies save asprovided for in paragraph 6 “information tobuyers”.

(2) Private treaty sales made under theseConditions are deemed to be sales byauction for purposes of consumerlegislation.

16. FORGERIES

Notwithstanding the preceding Condition,any Lot which proves to be a deliberateforgery (as defined) may be returned to usby you within 21 days of the auctionprovided it is in the same condition aswhen bought, and is accompanied byparticulars identifying it from the relevantcatalogue description and a writtenstatement of defects. If we are satisfiedfrom the evidence presented that the lot isa deliberate forgery we shall refund themoney paid by you for the lot including anybuyer’s premium provided that (1) if thecatalogue description reflected theaccepted view of scholars and experts asat the date of sale or (2) you personally arenot able to transfer a good and marketabletitle to us, you shall have no rights underthis condition.

The right of return provided by thisCondition is additional to any right orremedy provided by law or by theseConditions of Sale.

GENERAL

17. We shall have the right at ourdiscretion, to refuse admission to ourpremises or attendance at our auctions byany person.

18 (1) Any right to compensation for lossesliabilities and expenses incurred in respectof and as a result of any breach of theseConditions and any exclusions provided bythem shall be available to the sellerand/or the auctioneer as appropriate.

(2). Such rights and exclusions shallextend to and be deemed to be for thebenefit of employees and agents of theseller and/or the auctioneer who maythemselves enforce them.

19. Any notice to any buyer, seller, bidderor viewer may be given by first class mailin which case it shall be deemed to havebeen received by the addressee 48 hoursafter posting.

20. Special terms may be used incatalogue descriptions of particularclasses of items (Books, Jewellery,paintings, guns, firearms etc) in whichcase the descriptions must be interpretedin accordance with any glossary orguidance notes appearing in thecatalogue. These notices and terms willalso form part of our terms and conditionsof sales.

21. Any indulgence extended to biddersbuyers or sellers by us notwithstandingthe strict terms of these Conditions or ofthe Terms of Consignment shall affect theposition at the relevant time only and inrespect of that particular concession only;in all other respects these Conditionsshall be construed as having full force andeffect.

22. Scottish law applies to theinterpretation of these Conditions.

103

Sale Title

Sale Date Sale No.

Title Initials Client No.

Surname

Address

Postcode

Telephone Fax

E-mail

Client Signature Date

Lyon and Turnbull office use

Date Time By Bidder No.

Received

Entered

Absentee bid form

Sale/customer details

33 Broughton PlaceEdinburgh EH1 3RRTel +44 (0)131 557 8844Fax +44 (0)131 557 8668

182 Bath Street, GlasgowG2 4HGTel +44 (0)141 333 1992Fax +44 (0)141 332 2928e-mail:[email protected]

I request Lyon and Turnbull,without legal obligation of anykind on its part, to bid on thefollowing lots up to the priceslisted.

I understand that if any of mybids are successful the totalprice payable will be theamount of the final bid plus aBuyer’s premium calculated atthe following rates:

25% up to £25,000 /20% thereafter.

VAT will be charged onthe premium.

The premium and VAT ispayable by all purchasers.

Lots in the catalogue marked* or † are subject to VAT on thehammer price as well as thepremium.

Where there are identical bidsfor a lot, the first bid receivedwill be have precedence.

Please make certain that yourbids are submitted at least twohours before the start of thesale.

£ Sterling limitLot.No Description Ex. Premium & VAT

PP

S

QUEEN ST

PRINCES ST

BROU

GHTON

ST

LEIT

HW

ALK

LEIT

HST

Waverley Station

ParkingMulti-storey car parking isavailable at Greenside Placeand in the St. James Centre;five minutes walk from thesaleroom.

Lyon & Turnbull

St Andrew Square

Local DeliveriesLocal deliveries can bearranged by A&S PertRemovals.Telephone 07876343520.

Packing and ShippingPlease note that we donot pack or ship items.The following suggestedcarriers will be able toarrange packing andshipping; please contactthem directly to receivea quote. You may wishto contact an alternativecourier.

Smaller itemsMailboxes Etc44/46 Morningside RoadEdinburgh EH10 4BFThe direct link to the orderingform is:http://www.mbeedinburgh.com/art-and-antiques.phpTel: +44 (0)131 556 6226Fax: +44 (0)131 652 3673Email:[email protected]

Furniture and larger itemsConstantineConstantine HouseNorth Caldeen RoadCoatbridgeNorth Lanarkshire ML5 4EFTel: +44(0)1236 750055Fax: +44(0)1236 750077E-mail:[email protected]

A Van Man TransportUnit 5, Benridge ParkHolyrood Close,CreekmoorPoole, Dorset BH17 7BDTel: +44 (0)1202 600 012Fax: +44 (0)1202 600 206Email: [email protected]

Fine Art CarriersGallery Support Group37 Cremer StreetLondon E2 8HDTel: +44 (0)20 7729 6692Email:[email protected]

Arrangements for Sold LotsAll bought items will beavailable for collection fromThe Lighthouse until 2pm theday after the sale. Thereafterpaintings and small sculpturecan be removed to ourGlasgow office by request,otherwise all works andlarger items will be removedto our Edinburgh stores.These items will be storedfree of charge until the Fridayfollowing the sale, thereaftercharges will be incurred.

Administration fee:£20 + VAT

Storage charges per lot perday are:

Large Items£5 inc. insurance + VAT

Small Items£2.50 inc. insurance + VAT

© Lyon & Turnbull Ltd. 2013. All rights reserved. No part of thispublication may be reproduced, stored in a retrieval system ortransmitted by any form or by any means without the prior writtenpermission of Lyon & Turnbull Ltd.

104

EDINBURGH SALEROOM

PP

S

QUEEN ST

PRINCES ST

BROU

GHTON

ST

LEIT

HW

ALK

LEIT

HST

Local DeliveriesLocal deliveries can bearranged by A&S PertRemovals.Telephone 07876343520.

Packing and ShippingPlease note that we donot pack or ship items.The following sug-gested carriers will beable to arrange pack-ing and shipping;please contact themdirectly to receive aquote. You may wishto contact an alterna-tive courier.

Smaller items & PicturesMailboxes Etc44/46 Morningside RoadEdinburgh EH10 4BFThe direct link to the orderingform is:http://www.mbeedinburgh.com/art-and-antiques.phpTel: +44 (0)131 556 6226Fax: +44 (0)131 652 3673Email:[email protected]

Furniture and larger itemsConstantineConstantine HouseNorth Caldeen RoadCoatbridgeNorth Lanarkshire ML5 4EFTel: +44(0)1236 750055Fax: +44(0)1236 750077E-mail:[email protected]

A Van Man TransportUnit 5, Benridge ParkHolyrood Close, Creek-moorPoole, Dorset BH17 7BDTel: +44 (0)1202 600 012Fax: +44 (0)1202 600 206Email: [email protected]

Fine Art CarriersGallery Support Group37 Cremer StreetLondon E2 8HDTel: +44 (0)20 7729 6692Email:[email protected]

Arrangements for Sold LotsAll bought items will be heldfree of charge at BroughtonPlace until the Friday follow-ing the sale.

Thereafter lots will be re-moved to store in Edinburghand a charge incurred.

Administration fee:£20 + VAT

Storage charges per lot perday are:

Large Items£5 inc. insurance + VAT

Small Items£2.50 inc. insurance + VAT

CateringRefreshments will be avail-able at the saleroom on viewdays and day of sale.

Waverley Station

ParkingMulti-storey car parking isavailable at Greenside Placeand in the St. James Centre;five minutes walk from thesaleroom.

Lyon & Turnbull saleroom

St Andrew Square

© Lyon and Turnbull Ltd. 2013. All rights reserved. No part of thispublication may be reproduced, stored in a retrieval system ortransmitted by any form or by any means without the prior writtenpermission of Lyon and Turnbull Ltd.

33 Broughton Place, EdinburghEH1 3RRTel +44 (0)131 557 8844Fax +44 (0)131 557 8668

email. [email protected]

182 Bath Street, GlasgowG2 4HGTel +44 (0)141 333 1992Fax +44 (0)141 332 8240

78 Pall Mall, LondonSW1Y 5ESTel +44 (0)20 7930 9115Fax +44 (0)20 7930 7274

Date post:	12-Mar-2016
Category:	Documents
Upload:	lyon-turnbull
View:	223 times
Download:	1 times

Cunningham & Wyllie | 27/08/2013

Documents