Cunningham & Wyllie | 27/08/2013 by Lyon & Turnbull

The Studios of John Cunningham and George Wyllie Tuesday, 27th August, 2013 The Lighthouse Glasgow

The Studios of John Cunningham and George Wyllie Tuesday, 27th August, 2013 at 6pm Sale Number LT398 The Lighthouse 11 Mitchell Lane Glasgow G1 3NU

Viewing Sunday, 25th August 12 noon - 4pm Monday, 26th August 10am - 4pm Tuesday, 27th August 10am - 4pm

Specialists Nick Curnow nick.curnow@lyonandturnbull.com Emily Johnston emily.johnston@lyonandturnbull.com Charlotte Riordan charlotte.riordan@lyonandturnbull.com Gavin Strang gavin.strang@lyonandturnbull.com

Catalogue: £10 BUYERS’ PREMIUM 25% up to £25,000 20% thereafter. VAT will be charged on the premium at 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 Sale and Information for Buyers).

ENQUIRIES AND COMMISSION BIDS Lyon and Turnbull Ltd. 33 Broughton Place Edinburgh EH1 3RR Tel. 0131 557 8844 Fax. 0131 557 8668 email. info@lyonandturnbull.com www.lyonandturnbull.com

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

Campbell Armour Director

Campbell started his career with Phillips on Bath Street, going on to become Managing Director, before becoming one of the founding directors of the relaunched Lyon & Turnbull in 1999. A ‘well kent’ face in Glasgow and the Scottish art world, Campbell places strong emphasis on good client contact. He is also a valuer with wide knowledge built up over twenty years’ experience.

Gavin began with Christie’s on Bath Street as a specialist in the furniture and works of art department, also running the carpet department and later becoming their general valuer for the West Coast. He joined Lyon & Turnbull in 2002 and, like Campbell, has an excellent all-round knowledge of art and antiques.

Linda is the main point of contact for lawyers and other professional and private clients. She keeps a careful eye on the administration and efficient handling of our client’s property, both large and small. Linda also looks after our varied events schedule.

James is a graduate from Aberdeen University and the newest member of the Glasgow team, joining in July 2012. He is passionate about the arts and works hard to promote the Lyon & Turnbull name in Glasgow and the West of Scotland. James provides a welcoming reception and ensures the smooth running of the gallery.

Linda Robinson Client Services

182 Bath Street

0141 333 1992

Gavin Strang Director

James McNaught Client Services

glasgow@lyonandturnbull.com

Contents The 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

Auction Location

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

ST. VINCENT

STREET

MITCHELL LANE

3 MITCHELL STREET

HOPE STREET

JAMAICA STREET

See page 104 for details of storage charges and delivery options.

STREET

WEST NILE

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

STREET

QUEEN STREET

STREET

1 W. GEORGE

BUCHANAN

Collections

ARGLYE STREET

1 2 3 4

Queen Street station Mitchell Street car park The Lighthouse (auction venue) Central station

Map not to scale. For illustrative purposes only.

LY O N & T U R N B U L L Important information for buyers

Buying at Auction This sale is subject to our standard Terms and Conditions of Sale. If you have not bought at auction before we will be delighted to advise you. Estimates Estimates are printed below each lot and do not include the buyer’s premium. The sale will be conducted in pounds sterling. Dimensions Dimensions are for guidance only; it is the buyer’s responsibility to ensure that they are correct. Buyer’s Premium The buyer shall pay the hammer price together with a premium thereon. 25% up to £25,000 / 20% thereafter. VAT will be charged on the premium at the rate imposed by law. (see our Terms and Conditions of Sale). VAT The symbol † by a lot number indicates that VAT is payable by the purchaser at the standard rate on the hammer price. The symbol * by a lot number indicates that the lot has been temporarily imported from outside the EU and that VAT is payable by the purchaser at the rate of 5% on the hammer price. No VAT is payable on the hammer price or premium for books bought at auction. Droit de Suite This symbol indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012, this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the buyer on the hammer price and in addition to the buyer’s premium. It

will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. All royalty charges are paid to the appropriate collecting organisation and no handling costs or additional fees are retained by the auctioneer. Resale royalties are not subject to VAT. Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale. More information on Droit de Suite is available at www.dacs.org.uk Damage and Restoration Occasionally, when a lot has suffered extensive damage and/or restoration it is indicated in the catalogue. This is mentioned entirely at our discretion for the benefit of buyers. Where there is no mention of damage and/or restoration this should not be taken to mean that there is none. It is the buyer’s responsibility to ensure that the condition of lots is to their satisfaction (see our Terms and Conditions of Sale). Condition Reports If potential buyers are unable to inspect lots in person our specialists will be happy to prepare detailed Condition Reports on individual lots as quickly as possible. These are for guidance only and all lots are sold ‘as found’ (see our standard Terms and Conditions of Sale). Electrical Goods Lots that were once operated by mains electricity are bought entirely at the buyer’s risk. They are offered for sale for display or historical purposes and may not comply with current regulations. Bidding At the Sale To bid at the sale all potential buyers must be registered with us

on or before the day of sale. We will need proof of identification and residence, and may require a bank reference. Potential buyers must collect a bidding number before the sale begins, and show that number if successful in purchasing a lot. Please ensure that the auctioneer repeats the number correctly when confirming the sale. If there is any doubt at this stage as to the hammer price or buyer it must be brought to the auctioneer’s attention immediately. All lots will be invoiced to the name and address given on your registration form, which is nontransferable. If you have purchased a lot you may take your bidding number to the accounts department and receive an invoice immediately. If you have not been successful please leave the number at the Registration or Reception desks. In writing Bid forms are available at the sale and/or the back of the catalogue. These should be submitted in person, by post, or by fax as soon as possible prior to the sale and we will bid on your behalf up to the limit indicated. In the event of receiving two identical bids the first one received will take precedence. They must be received at the very latest at least an hour before the sale. We will do our utmost to execute these bids but we offer this service entirely at the bidder’s risk. Telephone bidding If you are unable to attend the sale we can normally arrange for you to bid on the telephone. This service is available entirely at our discretion and at the bidder’s risk. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities.

Live Online Bidding Live online bidding facilities are available through our website and Artfact.com. You must register in advance of the sale for this service. All registrations are subject to approval. Our live auctions are run by Artfact, there is an additional 3% plus VAT for this service. Please note that live online bidding may be subject to technical issues/ restrictions. Methods of Payment Goods purchased will not be released until we have received full payment. Bank Transfer Please find details in any email invoice we issue or upon request from our accounts department. Cash Cash payments can be made at the accounts desk during or after a sale. Credit or Debit Cards Payment can be made by Visa Debit, Maestro, Mastercard or Visa Credit cards. Please note there is a 2% surcharge on credit card payments and we do not accept Amex.. Online Payments We no longer accept card payments by phone, please use our online payment service (powered by Worldpay). You will find a link to this service in any email invoice issue or you can visit the payments section of our website. Cheque Cheques should be made payable to Lyon and Turnbull Ltd. We reserve the right to wait until cheques have been cleared by our bankers before releasing bought goods. Cheques can be cleared prior to sale on request. Cheques drawn by third parties cannot be accepted. If paying by post please include the slip from your invoice. Collection See notes on pages 3 and 104.

C&W

John Cunningham R.G.I. (1926-1998) I can see him now, painting in the open air in Ardnamurchan or on Colonsay, canvas, easel and pigments on the palette, all in correspondence, in his movements of arm, hand, body, eyes keen to the whole vision before him, the brush-strokes bold and confident, but subtle and attentive to the intricate patterns of water and mountain and sky. I remember when I was a wee boy, Uncle John took me out into the fields of his native Lanarkshire with two easels, canvases, paints and brushes, set me up beside him and told me to look closely at the clouds in the sky above, their form and movement, colours and tones, shifting shapes I was never quick enough to catch, but watched him do it so deft, so accurate. ‘Paint what you see!’ he commanded, like the army man he had been, but it was his generosity and friendliness that really made things possible.

It was my first lesson in close observation and I took it as far as I could in writing, in my own books of poems, First and Last Songs and Clearances, whose covers are graced by paintings he gave me his happy permission to place there. When I edited Hugh MacDiarmid’s Selected Poems for a Penguin Modern Classics edition, John supplied the cover picture, Raised Beaches, to match the greatest of all modern Scottish poems, ‘On a Raised Beach’ and something of the spirit of Scotland breathes in John Cunningham’s work as deeply and surely as it does in MacDiarmid, 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-covered table, pheasants or fish on their plates, or flowers in a vase or a Glasgow jug, there are moments in John’s paintings that command you just as surely, to pause and gratefully enjoy that moment of decorum, before the eating and drinking commences. Patience is part of his art. I recollect long hours of work with him in the studio at Charing Cross, stretching and nailing the canvases to frames, preparations for his painting trips to the north-west. Once, he showed me an old photograph of his father’s father, a cobbler, sitting with his helper, shoes turned on a lathe as they worked, in perhaps the 1890s. He said this part of his work was as essential as making certain that the shoes were firmly soled and watertight. This is not simply the mechanics of construction but essential to his vision. It gives what you see in the paintings lasting value, beyond fashion. They give pleasure to the eye and thinking mind. They are works that remind you why life is worth living, why it’s good to be companionable, and share things, views of Scotland and other places, of tables and spaces to be occupied by sensitised people who care about such things. All his paintings show the determined self-discipline of the artist whose commitment is total but, and in equal measure, the exuberance of pleasure in life’s abundance, in the landscapes and seascapes of the west of Scotland, in the grace and precision, the measurements of sensual apprehension, in the still lifes. The intellectual explorations

LY O N & T U R N B U L L The Studio of John Cunningham

of the great philosophers of the Scottish Enlightenment, the architects and social thinkers, like Charles Rennie Mackintosh and Patrick Geddes, the famous engineers, all give Scottish achievement a reputation for practicality and straight dealing with fundamental issues, but these always require the complementarity of sensual thinking. The apprehension of reality through paintings is one of Scotland’s greatest achievements, from William McTaggart through to the Scottish Colourists in whose tradition Cunningham’s work securely resides, and in the largest human sense of comprehending what life might be if we have the courage to see it in all its richness and variety, here in Scotland.

Georges Braque once wrote: ‘Objects do not exist for me except in so far as a harmonious relationship exists between them and between them and myself. When one attains this harmony one reaches a sort of intellectual nonexistence which makes everything possible and right.’ John Cunningham’s work can be looked at and studied in the intellectual history of modern Scottish painting, but again and again, in painting after painting, it delivers this sense that the world is still capable of being so full of possibility and rightness. Professor Alan Riach Scottish Literature University of Glasgow

LY O N & T U R N B U L L The Studio of John Cunningham

1 FG97/146 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) KILORAN BAY, COLONSAY Signed, oil on canvas 65cm x 75cm (25.5in x 29.5in)

£1,500-2,500

2 FG97/36 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) HOUSES ON COLONSAY Signed and dated 1986 verso, oil on canvas 61cm x 69cm (24in x 27.25in)

£2,500-3,500

LY O N & T U R N B U L L The Studio of John Cunningham

3 FG97/58 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) PORTUAIRK, ARDNAMURCHAN Signed and dated 1989 verso, oil on board 19cm x 51cm (7.5in x 20in)

£800-1,200

4 FG97/89 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) WEST COAST VILLAGE Oil on board 30.5cm x 60.5cm (12in x 23.75in)

£500-800

LY O N & T U R N B U L L The Studio of John Cunningham

5 FG97/7 JOHN 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

LY O N & T U R N B U L L The Studio of John Cunningham

6 FG97/51 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) APPLES Signed and dated Oct ‘75, oil on board 25.5cm x 27cm (10in x 10.5in)

£400-600

7 FG97/119 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) PEACHES Signed, oil on board 24cm x 24cm (9.5in x 9.5in)

£400-600

8 FG97/72 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) PEARS Signed, oil on board 33cm x 38cm (13in x 15in)

£400-600

LY O N & T U R N B U L L The Studio of John Cunningham

9 FG97/162 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) REFLECTIONS Signed, oil on canvas 90cm x 49cm (35.5in x 19.25in)

£2,500-3,500

LY O N & T U R N B U L L The Studio of John Cunningham

10 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) PASTORAL Signed, inscribed and dated 1986 verso, watercolour 12cm x 19cm (4.75in x 7.5in)

£200-400

11 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) KERRY CROFT Signed and dated 1993 verso, watercolour 23cm x 34cm (9in x 13.5in)

£400-600

12 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) ITALIAN LANDSCAPE Signed, watercolour 20cm x 26cm (8in x 10.25in)

£250-350

LY O N & T U R N B U L L The Studio of John Cunningham

13 FG97/41 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) STUDY FOR THE FOUR SEASONS TAPESTRY Signed, inscribed and dated 1990 verso, mixed media 52cm x 52cm (20.5in x 20.5in)

£1,000-1,500

14 FG97/147B JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) GLASGOW GARDEN FESTIVAL STUDY Watercolour 21.5cm x 28cm (8.5in x 11in)

£150-250

LY O N & T U R N B U L L The Studio of John Cunningham

15 FG97/120 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) WOMAN IN A BLACK HAT Signed verso, oil on board 43cm x 30cm (17in x 11.75in)

£300-500

16 FG97/98 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) NUDE AND TABLE Oil on canvas 76cm x 63cm (30in x 24.75in)

£700-1,000

LY O N & T U R N B U L L The Studio of John Cunningham

17 FG97/101 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) DINNER AL FRESCO Signed and dated on edge 1992, oil on canvas 77cm x 86cm (30.25in x 34in)

£1,200-1,800

18 FG97/108 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) CAFE SCENE Signed, oil on canvas 66cm x 76cm (26in x 30in)

£1,200-1,800

LY O N & T U R N B U L L The Studio of John Cunningham

19 FG97/103 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) ITALIAN LANDSCAPE Signed, oil on canvas 63.5cm x 76cm (25in x 30in)

£1,500-2,500

20 FG97/144 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) ITALIAN LANDSCAPE Oil on canvas 43cm x 53cm (17in x 30in)

£800-1,200

LY O N & T U R N B U L L The Studio of John Cunningham

21 FG97/11 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) LA PLAGE DE LA MADRAGUE, PROVENCE Signed and inscribed verso, oil on canvas 38cm x 58cm (15in x 22.75in)

£2,000-3,000

LY O N & T U R N B U L L The Studio of John Cunningham

22 FG97/129 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) LANDSCAPE WITH FIGURE Signed, oil on board 22.5cm x 28cm (9in x 11in)

£400-600

23 FG97/99 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) FRENCH GARDEN Oil on canvas 50.5cm x 55.5cm (20in x 22in)

£600-900

24 FG97/73 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) SUNSET Oil on board 30.5cm x 30.5cm (12in x 12in)

£250-350

LY O N & T U R N B U L L The Studio of John Cunningham

25 FG97/106 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) BOATS IN A HARBOUR Signed, oil on canvas 66cm x 76cm (26in x 30in)

£2,500-3,500

26 FG97/126 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) BOATS IN HARBOUR Signed and inscribed verso, oil on canvas 54cm x 59cm (21.25in x 23.25in)

£2,000-3,000

LY O N & T U R N B U L L The Studio of John Cunningham

27 FG97/88 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) STILL LIFE WITH CHINESE VASE Oil on board 76cm x 41cm (30in x 16in)

£1,500-2,500

28 FG97/17 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) STILL LIFE WITH VICTORIAN JUG Signed, oil on canvas 58.5cm x 53.5cm (23in x 21in)

£2,500-3,500

LY O N & T U R N B U L L The Studio of John Cunningham

29 FG97/91 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) STILL LIFE WITH WHITE JUG Oil on board 30cm x 61cm (11.75in x 20in)

£200-300

30 FG97/127 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) STILL LIFE WITH TWO WHITE JUGS Oil on board 15cm x 40cm (6in x 15.75in)

£250-350

31 FG97/145 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) STILL LIFE WITH RED SNAPPERS Oil on canvas 40cm x 76cm (15.75in x 30in)

£1,200-1,800

LY O N & T U R N B U L L The Studio of John Cunningham

32 FG97/95 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) STILL LIFE WITH CORNISH STRIPED BOWL Signed, oil on canvas 61cm x 91cm (24in x 35.75in)

£2,500-3,500

LY O N & T U R N B U L L The Studio of John Cunningham

33 FG97/141 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) STILL LIFE WITH TAZZA OF FRUIT Signed, oil on canvas 56cm x 50cm (22in x 19.75in)

£800-1,200

34 FG97/147A JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) STILL LIFE WITH CHINESE MOONFLASK Mixed media 20cm x 21cm (8in x 8.25in)

£200-300

LY O N & T U R N B U L L The Studio of John Cunningham

35 FG97/96 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) YVONNE AND CAT Oil on canvas 92cm x 101.5cm (36.25in x 40in)

£800-1,200

36 FG97/93 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) BOWL OF FRUIT Oil on canvas laid on board 28cm x 36cm (11in x 14.25in)

£200-300

LY O N & T U R N B U L L The Studio of John Cunningham

37 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) LA COITAT Signed, inscribed and dated 24 aout’ ‘74, ink 39cm x 49cm (15.5in x 19.25in)

£250-350

38 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) VILLA LE PARADOU Signed, inscribed and dated 7 April ‘92, pencil 42cm x 50cm (16.5in x 19.75in)

£250-350

39 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) PORTUAIRK Signed and dated 3 Oct’ 93, pencil and watercolour 47cm x 81cm (18.5in x 32in)

£300-500

LY O N & T U R N B U L L The Studio of John Cunningham

40 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) RAMATUELLE Signed and inscribed, pencil and watercolour 47cm x 81cm (18.5in x 32in)

£500-800

41 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) RAMATUELLE Signed, inscribed and dated 18th June ‘92, pencil and watercolour 47cm x 81cm (18.5in x 32in)

£400-600

42 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) THE BAY, CANADEL Signed and inscribed verso, pencil and watercolour 37cm x 70cm (14.5in x 27.5in)

£500-800

LY O N & T U R N B U L L The Studio of John Cunningham

43 FG97/140 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) WEST COAST BEACH Signed, oil on canvas 40cm x 61cm (15.75in x 24in)

£1,500-2,500

44 FG97/107 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) WEST COAST BEACH, GREY SKY Oil on canvas 64cm x 81cm (25.25in x 32in)

£2,000-3,000

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45 FG97/165 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) DERRYNANE SHORE Signed and dated 1994 verso, oil on canvas 51cm x 92cm (20in x 36.25in)

£2,500-3,500

LY O N & T U R N B U L L The Studio of John Cunningham

46 FG97/104 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) EVENING HILLSIDE, KNAPPDALE Signed and inscribed verso, oil on canvas 63.5cm x 76cm (25in x 30in)

£1,500-2,500

47 FG97/37 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) AUTUMN DAY, DRYMEN Signed, inscribed and dated 1966 verso, oil on canvas 61cm x 74cm (24in x 29in)

£1,500-2,500

LY O N & T U R N B U L L The Studio of John Cunningham

48 FG97/18 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) LANDSCAPE WITH TREES Signed, inscribed and dated 7th June 1995 verso, oil on board 46cm x 40cm (18in x 15.75in)

£1,200-1,800

49 FG97/164 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) LANDSCAPE, STRACHUR Signed, oil on board 34cm x 34cm (13.5in x 13.5in)

£700-900

LY O N & T U R N B U L L The Studio of John Cunningham

50 FG97/139 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) WHITE COTTAGE Signed, oil on canvas 29cm x 35cm (11.5in x 13.75in)

£400-600

51 FG97/123 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) CASTILLO DE SAN SERVANDO, TOLEDO Signed, oil on board 30.5cm x 41cm (12in x 16in)

£400-600

52 FG97/128 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) MARGUERITE IN YELLOW HAT Signed, oil on board 20cm x 20.5cm (8in x 8in)

another similar; and another female study (3) £400-600

LY O N & T U R N B U L L The Studio of John Cunningham

53 FG97/97 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) ROYAL VISIT TO GLASGOW CATHEDRAL Oil on canvas 81cm x 106cm (32in x 41.75in)

£2,000-3,000 54 FG97/137 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) STUDY FOR THE OPENING OF THE CLYDE TUNNEL Signed, gouache 36cm x 48cm (7.5in x 19in)

and a sketch of the same (2) £400-600

LY O N & T U R N B U L L The Studio of John Cunningham

55 FG97/92 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) POPLARS Oil on board 25.5cm x 30cm (10in x 11.75in)

£200-300

56 FG97/90 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) LANDSCAPE Oil on board 35.5cm x 41cm (14in x 16in)

£300-500

57 FG97/110 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) STRACHUR Signed, inscribed and dated 7th February ‘95, mixed media

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

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

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

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

51cm x 61cm (20in x 24in)

£300-500

£400-600

£250-350

LY O N & T U R N B U L L The Studio of John Cunningham

60 FG97/74 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) ADAM AND EVE Signed, oil on board 26cm x 41cm (10.25in x 16in)

£300-500

61 FG97/75 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) FIGURES BELOW TREES Signed, oil on board 14.5cm x 26cm (5.75in x 10.25in)

£200-300

62 FG97/78 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) FIGURES IN THE MOONLIGHT Signed, oil on board 17.5cm x 25cm (7in x 9.75in)

£150-250

LY O N & T U R N B U L L The Studio of John Cunningham

63 FG97/76 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) SPANISH GIRL Signed, charcoal, two framed as one each 32cm x 12cm (12.5in x 4.75in) Exhibited: Royal Scottish Academy, Cat. 504

£400-600

64 FG97/77 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) THE BAPTISM Signed and inscribed verso, ink and watercolour 22cm x 17.5cm (8.75in x 7in)

£200-300

LY O N & T U R N B U L L The Studio of John Cunningham

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

69 FG97/147F JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) SELF PORTRAIT Pencil

73 FG97/147K JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) COLONSAY Dated 6 April ‘84, signed

77 FG97/147M JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) GLASGOW ART CLUB BAR Pen and wash

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

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

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

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

£200-300

and two other portrait sketches (3)

and another EOLIGARRY (2)

and three Art Club sketches (4)

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

£150-250

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

£150-250 67 FG97/83 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) RECLINING NUDE, LE PARADOU Signed, inscribed and dated Sat 20th June, pencil

70 FG97/147G JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) WINDOW Pencil and wash

£150-250

£200-300 74 FG97/147L JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) YACHTS Pencil 28.5cm x 40.5cm (11.25in x 16in)

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

and another similar (2)

£150-250

in sketch book 29.5cm x 42cm

75 FG97/147C JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) FOLIO OF NINE LANDSCAPE SKETCHES Mainly pencil and ink (9)

£200-300

£150-250

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

71 FG97/147H JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) LANDSCAPE WITH COTTAGE Ink and wash

£200-300

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

paper mainly 29.5cm x 42cm

and another similar (2)

(11.5in x 16.5in)

£150-250

£300-500

and another, GORDES (2)

72 FG97/147J JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) FROM SONNACHAN HOTEL Signed and dated Easter Sunday 1982, pencil

76 FG97/147E JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) FOLIO OF NINE LANDSCAPE SKETCHES Mainly pencil and ink (9)

£250-350

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

68 FG97/63 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) GRANGE Signed, inscribed and dated 1982, ink 29cm x 40cm (11.5in x 15.75in)

and another KILCHOAN (2) £150-250

78 FG97/147D JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) GLASGOW ART CLUB PORTRAIT SKETCHES Pencil, one with ink (13)

paper mainly 29.5cm x 42cm (11.5in x 16.5in)

£300-500

(11.5in x 16.5in)

LY O N & T U R N B U L L The Studio of John Cunningham

79 FG97/12 ATTRIBUTED TO JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) RECLINING NUDE Terracotta, on black wooden plinth 30cm (11.75in) long

£400-600

OTHER ARTISTS 80§ FG97/138 BENNO SCHOTZ R.S.A., L.L.D (ESTONIAN 1891-1984) BUST OF JOHN CUNNINGHAM Signed and dated 1980, plaster 51cm (20in) high

£600-900

81§ FG97/79 BENNO SCHOTZ R.S.A., L.L.D. (ESTONIAN 1891-1984) BUST OF MICHELLE Terracotta 50cm (19.75in) high

£700-900

LY O N & T U R N B U L L The Studio of John Cunningham

82ยง ALEXANDER GOUDIE R.P., R.G.I. (SCOTTISH 1933-2004) BUST OF A YOUNG BOY Bronze, on ebonised plinth 49cm (19.25in) high

ยฃ1,000-2,000

LY O N & T U R N B U L L The Studio of John Cunningham

83§ FG97/86 GEORGE 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 JOHN CUNNINGHAM Signed, inscribed and dated 6/10/89, oil on canvas 78cm x 83cm (30.75in x 32.75in)

£1,000-1,500

84 FG97/87 AFTER PABLO PICASSO FESTIVAL MONDIAL DE LA JEUNESSE ET DES ETUDIANTS POUR LA PAIX, BERLIN Screenprint in colours on cotton scarf, 1951, framed 81cm x 81cm (32in x 32in)

£700-900

LY O N & T U R N B U L L The Studio of John Cunningham

85§ FG97/55 JOHN HOUSTON O.B.E., R.S.A., R.S.W., R.G.I., S.S.A. (SCOTTISH 1930-2008) FESTIVAL, HEIAN SHRINE, KYOTO Signed and dated 1995 verso, oil on canvas 24cm x 24cm (9.5in x 9.5in)

£1,500-2,500

86§ FG97/38 SIR ROBIN PHILIPSON P.R.S.A., R.A., R.S.A. (SCOTTISH 1916-1992) ROUNDABOUT Signed and dated 1986 verso, watercolour 7.5cm x 10cm (3in x 4in)

£300-500

87§ FG97/39 DAVID DONALDSON R.S.A., R.P., R.G.I., L.L.D. (SCOTTISH 1916-1996) DREAMING Signed, pastel 21cm x 24cm (8.25in x 9.5in)

£400-600

LY O N & T U R N B U L L The Studio of John Cunningham

88§ DAVID GAULD R.S.A. (SCOTTISH 1865-1936) COWS Pencil 15cm x 20cm (6in x 8in) Provenance: Bourne Fine Art (1993)

£250-350

89§ GLEN SCOULLER R.S.W., R.G.I. (SCOTTISH b. 1950) BACKSTREET, ANTIBES Signed, watercolour 15.5cm x 16.5cm (6in x 6.5in)

£150-250

90§ DAVID DONALDSON R.S.A., R.P., R.G.I., L.L.D. (SCOTTISH 1916–1996) DRYMEN CHURCH Signed, ink 17.5cm x 21cm (7in x 8.25in)

£200-300

LY O N & T U R N B U L L The Studio of John Cunningham

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

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

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

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

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

£100-200

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

92§ FG97/56 HELEN WILSON R.S.W., R.G.I., P.A.I. (SCOTTISH b. 1954) CLOSE FITTING Signed, oil on board 14.5cm x 14.5cm (5.75in x 5.75in)

96§ FG97/148A ALEXANDER GOUDIE R.P., R.G.I. (SCOTTISH 1933-2004) TAM O’SHANTER - THE CHASE Artist’s proof, signed and inscribed, colour print

100§ FG97/4 GARY ANDERSON R.S.W. (SCOTTISH b. 1960) CHICKENS THREE Signed and dated ‘97, mixed media

£200-300

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

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

£100-200

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

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

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

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

£100-200

101§ FG97/132 WILLIAM SOMERVILLE SHANKS R.S.A. R.S.W. (SCOTTISH 1864–1951) HALF LENGTH PORTRAIT OF JOHN HENDERSON Signed, oil on canvas

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

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

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

£150-250

61cm x 51cm (24in x 20in)

£150-250

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

£100-200 102§ FG97/133 ATTRIBUTED TO WILLIAM SOMERVILLE SHANKS PORTRAIT OF A LADY Oil on canvas 76cm x 60cm (30in x 23.5in)

£100-200

LY O N & T U R N B U L L The Studio of John Cunningham

103§ FG97/1 JOHN MCGHIE R.S.A., R.S.W. (SCOTTISH 1867-1952) AGNES WITH STRIPED HEADSCARF Signed, oil on canvas 44cm x 34cm (17.25in x 13.5in) Note: This painting was used as the front cover illustration for Nanzie McLeod’s biography of her grandfather, John McGhie, who had the studio before Cunningham. This and the next painting were discovered in the studio.

£3,000-5,000

104§ FG97/6 JOHN MCGHIE R.S.A., R.S.W. (SCOTTISH 1867 - 1952) TWO WOMEN AT DUSK Signed, oil on canvas 44cm x 34cm (17.25in x 13.5in) Literature: Illustrated in Nanzie McLeod, John McGhie, page 67. Note: Discovered in the studio.

£1,500-2,500

LY O N & T U R N B U L L The Studio of John Cunningham

FURNITURE & OBJECTS 105 FG97/32 LARGE INDIAN BRASS FRAMED UPHOLSTERED CENTRE STOOL ISNAGAR N GUJARAT, KADI PRANT, BARODA STATE The rectangular seat covered in blue striped fabric, on moulded frame with bold paw feet, labels to frame 220cm (86.5in) long, 45cm (17.75in) high, 130cm (51in) deep

£1,200-1,800

104 FG97/33 HERIZ CARPET NORTHWEST PERSIA, EARLY 20TH CENTURY The ivory field with allover angular foliate design, within indigo turtle palmette border

107 FG97/31 CHINESE BLUE AND WHITE PORCELAIN MOONFLASK 19TH CENTURY Painted with figures, 35cm (13.75in); and associated column, 64cm (25in) high (2)

108 FG97/53 CHINESE BLUE AND WHITE PORCELAIN VASE 19TH CENTURY Transitional style, of baluster form painted with prunus blossom (repairs)

109 FG97/23 COLLECTION OF DECORATIVE CERAMICS Including: a pair of ‘wally dugs’, Indian hookah base, various studio pottery etc. (qty)

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

£200-300

59.5cm (23.5in) high

£200-300

£400-600

£250-350

LY O N & T U R N B U L L The Studio of John Cunningham

110 FG97/153 LATE VICTORIAN PITCH PINE AND BEECH DOUBLE SIDED ARTIST’S STUDIO EASEL ROBERTSON AND CO., 99 LONG ACRE, LONDON Of typical extending form, with maker’s plaque approximately 205cm (81in) high, unextended, 56.5cm (22.25in) wide

£800-1,200

111 FG97/152 TWO ARTIST’S EASELS With adjustable tripod bases; and two travelling easels (4) £150-250

112 FG97/167 COLLECTION OF STUDIO ITEMS Including: paint brushes, palette board, stoneware pots, table, chair etc (qty) £150-250 113-120 No lots

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 turns out I knew nothing. Before getting involved with helping to cement the Wyllie legacy as an artist of international importance (as one of the organisers of the award-winning Whysman Festival), I knew George had created the Straw Locomotive, a life sized straw engine which hung from the Finnieston Crane in Glasgow for six weeks during the summer of 1987. I also knew about a huge Paper Boat which he launched into the River Clyde with no little fanfare from beneath the same crane two years later. Both these events received an enormous amount of press and publicity. George, a retired Customs and Excise officer, turned full time artist, had a knack for masterminding big events. He was articulate and he was a showman. After it was taken down from the crane, George’s Straw Loco was paraded through the streets of Glasgow on the back of a lorry (with its boiler-suited maker inside). It was then ceremonially burned at the site of a former engineering works in Springburn. A lone piper played a lament and grown men, who had worked on that very site making engines which were sent all over the world, cried. Our Makar (or national poet) Liz Lochhead has spoken about how important the Straw

Locomotive was to her as a writer and artist. Actor Alan Cumming, living in Glasgow at the time, describes it as ‘an act of whimsy, bravado and passion that connected on an emotional level with the Scottish people – it changed my view of what art could be’. Two years later, George, then 68 and a decade into a full-time career as an artist, turned up for the launch of The Paper Boat in a white boiler suit and wearing a sailing captain’s hat on his head. He conducted a choir that sang a jaunty ditty he’d penned called The Paper Boat Song; an industrial chaplain from the nearby shipyards blessed the boat and then renowned Scots author and social commentator, Naomi Mitchison, launched it on a journey which took it all around the world. It even sailed down the Hudson and into the World Financial Center in New York. For the US leg of its journey, George had added texts from Adam Smith’s The Theory of Moral Sentiments inside the boat. George – and his Paper Boat – ended up making a splash on the front cover of the Wall Street Journal. George Wyllie’s definition of public art was ‘art the public can’t avoid’ - and there was no avoiding George’s scul?tures. He started calling himself a scul?tor, and his work scul?ture, in 1976, because he said the question mark should be central to all things. His constantly questioning approach to making art had a major influence on a generation of young artists. Leading contemporary Scottish artists, such as Douglas Gordon and Roderick Buchanan, have spoken about the impact George’s work made on their own approach to making art. George felt that art should be taken out of art galleries and into the wider public realm. He believed artists should think BIG and that they had an important socio-political role to play in society. George Wyllie was born in Shettleston on Hogmanay, 1921. Art and music played a part in his life from a young age thanks to his creative mother, Harriet, who taught her elder son and his younger brother, Banks, to draw and paint, to play musical instruments and to dance. In the late 1930s, the two brothers appeared on the X-Factor of its day, a wireless programme on the BBC called Carroll Levis and His Discoveries, which had an audience of millions. George, who played in bands all his life, would have loved to make a career in music, but he started his working life as an engineer for the Post Office in Govan. This safe and ‘dull’ job ended when the war took him to sea as an engineer with the Royal Navy in 1942. He met his wife Daphne at a dance in Gosport during a spell of leave. While serving in the Pacific, he paid a visit to the ruined city of Hiroshima with some shipmates after the atomic bomb dropped, and it sparked a lifelong

LY O N & T U R N B U L L The Studio of George Wyllie

concern for environmental issues. After the war, George became a customs and excise officer in Greenock. A promotion saw him moved to Northern Ireland, where he worked on the land 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 settled in Gourock with Daphne and two daughters; Louise and Elaine. He initially took lessons in oil painting, but it was only when he attended welding classes at a local college that his imagination was fired by the possibilities. The rest is the stuff of contemporary art history. With the energy of a man half his age, George began to create magical works of art in the basement cellar of his bungalow high above the Firth of Clyde. He started with a Ten Object Plan and this included a selection of what he later called his ‘crusty objects’; a dancing lamppost, a mortgage climbing up a wall, a bishop which gave the viewer a blessing when rocked back and forth. A crucifix was accepted by the Royal Scottish Academy and sold to a church in Barrow-on-Furness, attracting the interest and friendship of the Queen’s sculptor, Benno Schotz. During this period, he continued to work at the Customs Office in Greenock, spending every spare moment drawing, planning and welding. In 1976, three years before becoming a full-time artist, he mounted his first solo show, Scul?ture, at the Collins Exhibition Hall, (which became Strathclyde University’s Collins Gallery). Wyllie was on his way as an artist. His work, much of it made from scrap metal materials, found its way into churches, pubs, clubs, restaurants and other public spaces. By the early 1970s, through Edinburgh-based artist and promoter Richard Demarco, his horizons began to expand and he came into contact with the wider art world, which in turn led him to the front door of American kinetic sculptor, George Rickey, who had grown up in Helensburgh. He also met German conceptual artist Joseph Beuys and during the 1980s spent time with him at his home in Germany. During the 1980s, through an ongoing association with the Third Eye Centre in Glasgow, an exhibition called A Day Down a Goldmine, morphed into a play, starring George and a variety of well-known actors, including Russell Hunter and Bill Paterson. This award-winning play, with words, music and props all by George, played throughout the 1980s in venues around the UK. From the early 1990s until 2008, George continued to work like a man possessed; making, writing and creating. His output was prolific. His last major exhibition in 2006 was called The Cosmic Journey and drew together material spanning some 40

years to illustrate his constant search for balance – or equilibrium, as he called it. His wife Daphne died in 2004 and by 2010 he was living in a home for retired mariners in Greenock. In early 2011, his elder daughter, Louise Wyllie, asked me to chair a group she’d set up called The Friends of George Wyllie. The idea was that we would celebrate his work and make him feel that he had made a difference. George died in May 2012, just a week after we secured Creative Scotland funding to make sure his legacy was celebrated and shared with a new generation. The first time I met George Wyllie properly, in 2011, he demanded to know: ‘What’s your passion? The best thing you’ve ever done?’ The thing about George, I have come to learn, is that he asked direct questions: of you as a person, your heritage, your creativity, and your whole philosophy on the world in which you find yourself living. George Wyllie made things happen. He did it with passion and with humour. When you use humour as a weapon, po-faced people occasionally mistake it for a light touch. What lies beneath is the key. Jan Patience Arts writer

LY O N & T U R N B U L L The Studio of George Wyllie

121 FG290/1 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) RUSTY QUESTION MARK Mild steel 43.5cm x 31cm (17.25in x 12.5in)

£200-300 122 FG290/22 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921- 2012) SHAFTED Mild steel, wood, brass 20cm x 25cm x 22cm (7.75in x 9.75in x 8.75in)

£200-300

123 FG290/28 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) FOUR TERRACOTTA PUFFERS Painted cement (4) largest 48cm x 44cm x 10cm (19in x 17.5 x 4in) Note: From the Argyll installation of the proposed puffer trail, part of the Para Handy project.

£400-600

LY O N & T U R N B U L L The Studio of George Wyllie

124 FG290/4 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) BUM BOATS Signed and dated ‘65 verso, oil on board 66cm x 50cm (26in x 19.75in)

£200-300

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

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

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

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

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

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

£200-300

and another, COLUMBA (2)

and another, ROYAL YACHT BRITANNIA (2)

£150-250

£200-300

128 FG290/10 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) HOLIDAY SKETCHES, FRANCE Signed and dated ‘66, ink and watercolour, a group of five (5) 10.5cm x 15.5cm (4.5in x 6.5in) Note: From the Wyllies’ first holiday abroad.

£300-500

LY O N & T U R N B U L L The Studio of George Wyllie

129 FG290/31 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) THE LAUNCH Stainless steel 77cm x 10cm x 18cm (30.25in x 4in x 7.25in) Note: The larger work of the same name is at Elder Park, Govan, Glasgow.

£2,000-3,000

130 FG290/34 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) CUMBRAE Mild steel, wood 68cm x 16cm x 15cm (26.75in x 6.5in x 6in) Note: This is one of George’s earliest sculptures.

£500-800

LY O N & T U R N B U L L The Studio of George Wyllie

131 FG290/236 GEORGE WYLLIE M.B.E., A.R.S.A, R.G.I. (SCOTTISH 1921-2012) PUFFER Mixed media 45cm x 60.5cm (17.75in x 23.75in x 2in)

£200-300

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

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

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

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

and another similar (2)

each approximately 12cm x 17cm

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

(4.75in x 6.75in)

£150-250

and CUSTOMS OFFICER ABOUT TO PUT A SEAL ON AN OIL TANKER (2)

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

£150-250

£300-500

£150-250

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

and CREST (2)

LY O N & T U R N B U L L The Studio of George Wyllie

136 FG290/20 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) THE PARA HANDY SUITE Signed and dated ‘78, watercolours, a group of twelve (12) each 17cm x 12cm (6.75in x 4.75in)

£1,000-1,500

LY O N & T U R N B U L L The Studio of George Wyllie

137 FG290/49 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) RAILWAY SIGNALS Mild steel 50cm x 60cm x 8cm (19.75in x 23.5in x 3.5in)

£300-500

138 FG290/50 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) HOMAGE TO HORNBY Mild steel 46cm x 50cm x 50cm (18.25in x 19.75in x 19.75in)

£700-1,000

LY O N & T U R N B U L L The Studio of George Wyllie

139 FG290/55 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) JARRY’S PASSION Mixed media 57cm x 58cm x 14cm (22.5in x 22.75in x 5.5in) Note: Alfred Jarry (1873-1907) translated his love of cycling into the world of literature. His writings had a profound influence on the surrealist and Dada movements. He was the creator of ‘Pataphysics’ which George admired.

£200-300

140 FG290/51 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) UNITY Mild steel 21cm x 100cm x 25cm (8.5in x 39.5in x 9.75in)

£600-900

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141 FG290/244 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) RED EAGLE Paint on blanket 34cm x 99.5cm (13.5in x 39in)

£300-500

142 FG290/240 GEORGE WYLLIE M.B.E., A.R.S.A, R.G.I. (SCOTTISH 1921-2012) EAGLE ON PYRE Signed and dated ‘83, mixed media 36cm x 28cm (14in x 11in)

£200-300

LY O N & T U R N B U L L The Studio of George Wyllie

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

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

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

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

and another similar (2)

and three others similar (4)

£150-250

£300-500

143 FG290/68 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) AMERICAN TRANSPORTATION EAGLE Chrome bumpers and mixed media 70cm x 150cm x 25cm (27.5in x 39.5in x 9.75in)

£800-1,200

LY O N & T U R N B U L L The Studio of George Wyllie

146 FG290/57 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) ADLER Signed and dated ‘88, mixed media 23cm x 9cm (9in x 3.5in)

£100-200

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

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

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

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

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

150 FG290/77 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) A SCULPTURAL PARADE OF BRICK-A-BAT Signed and dated ‘89, mixed media

each 44cm x 29cm (17.5in x 11.5in)

£150-250

£300-500

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

and another similar (2)

and AMERICANA (2)

£200-300

LY O N & T U R N B U L L The Studio of George Wyllie

151 FG290/232 GEORGE WYLLIE M.B.E., A.R.S.A, R.G.I. (SCOTTISH 1921-2012) POINTING FINGER Marble 35cm x 16cm x 5cm (13.75in x 6.5in x 2in)

£200-300

152 FG290/206 GEORGE WYLLIE M.B.E., A.R.S.A, R.G.I. (SCOTTISH 1921- 2012) WHITE QUESTION MARK Wood 64cm x 28cm (25.25in x 11in)

£150-250

153 FG290/230 GEORGE WYLLIE M.B.E., A.R.S.A, R.G.I. (SCOTTISH 1921-2012) RESTRICTED ZONE Marble and mixed media 26.5cm x 5cm x 4cm (10.5in x 2in x 1.75in)

£150-250

LY O N & T U R N B U L L The Studio of George Wyllie

154 GEORGE WYLLIE M.B.E, A.R.S.A., R.G.I (SCOTTISH 1921-2012) STRAW LOCOMOTIVE Straw and mixed media 98cm x 23cm x 38cm (38.5in x 9in x 15in)

155 FG290/100A GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) STRAW LOCOMOTIVE Print on board 152.5cm x 91.5cm (60in x 36in)

£150-250 See illustration opposite

Note: The Straw Locomotive, George Wyllie’s powerful full scale rendition of a classic steam train, which hung from Glasgow’s Stobcross crane during the summer of 1987, is widely credited as one of the defining moments in Scottish art in the late 20th century. It secured Wyllie’s reputation as an artist of international standing. The seeming insubstantiality of the piece was widely understood and appreciated as a commentary on the loss of the West of Scotland’s traditional heavy industries. Wyllie’s subsequent Viking funeral for the piece was typical of his bravura theatricality but did nothing to diminish 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, was commissioned 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 City of Architecture and Design 1999. George Wyllie, hauling the Straw Locomotive Mark 2 onto the model crane (guided by Professor Andy MacMillan), gave the Glasgow bid substantial television coverage at the time.

£10,000-15,000

LY O N & T U R N B U L L The Studio of George Wyllie

156 FG290/117 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) GREEK SHIP Mild steel 24cm x 34cm x 9cm (9.5in x 13.5in x 3.75in)

£400-600

157 FG290/118 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) MYKONOS Signed and dated ‘72 verso, oil on canvas and brush 30cm x 45cm (11.75in x 17.75in)

£200-300

158 FG290/119 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) POROS Signed and dated ‘81, watercolour 52 x 73cm (20.5 x 28.75in)

£200-300

LY O N & T U R N B U L L The Studio of George Wyllie

159 FG290/246 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) MADRAS AND BANGALORE Signed and dated 1983, mixed media, a pair (2) 95cm x 36cm x 9cm (37.5in x 14in x 3.5in)

£600-900

LY O N & T U R N B U L L The Studio of George Wyllie

160 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) A SHORT HISTORY OF AVIATION Signed and dated ‘81, ink 32.5cm x 45cm (12.75in x 17.75in)

£200-300

161 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) IN MEMORIAM Ink 34cm x 28cm (13.5in x 11in)

£150-250

162 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) 29 BOMBS Signed and dated ‘83, ink 41cm x 28cm (16.25in x 11in)

£150-250

LY O N & T U R N B U L L The Studio of George Wyllie

163 FG290/231 GEORGE WYLLIE M.B.E., A.R.S.A, R.G.I. (SCOTTISH 1921-2012) FLYING BOAT Mild steel and bark 48cm x 44cm x 32cm (18.75in x 17.5in x 12.75in)

£500-800

164 FG290/132 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) THREE BOMBS Mild steel (3) Largest 40cm x 14cm x 14cm (15.75in x 5.5in x 5.5in)

£600-900

LY O N & T U R N B U L L The Studio of George Wyllie

165 FG290/100 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) PAPER BOAT Digital print 91cm x 123cm (35.5in x 48.5in)

£200-300

166 FG290/224A GEORGE WYLLIE M.B.E., A.R.S.A, R.G.I. (SCOTTISH 1921-2012) LE BATEAU IVRE / THE DRUNKEN BOAT Signed and dated ‘92 & 2002, a set of eight colour prints (8) 35cm x 27cm (13.75in x 10.5in)

£300-500

76cm x 56cm (30in x 22in)

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

£150-250

disc 17.5cm diameter (6.75in)

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

£100-200

LY O N & T U R N B U L L The Studio of George Wyllie

169 FG290/229 GEORGE WYLLIE M.B.E., A.R.S.A, R.G.I. (SCOTTISH 1921-2012) GOLD AND SLATE BOAT On a slate base (2) 49cm x 33cm x 7cm (19.5in x 14in x 2.75in)

£250-350

170 FG290/104 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) PAPER BOAT FLAG Mild steel 52cm x 25cm x 2cm (20.5in x 9.75in x 0.5in)

£400-600

171 FG290/112 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) SALTIRE FLAG Stainless steel 194cm x 33cm (76.25in x 13in)

£500-800

LY O N & T U R N B U L L The Studio of George Wyllie

172 FG290/171 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) CUNARD STONE BAG Mixed media 25cm x 35cm x 14cm (10in x 13.75in x 5.5in)

£200-300

173 FG290/176 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) STONE MEASURE WHEEL Mixed media 107cm x 23cm x 15cm (42in x 9in x 6in)

£200-300

LY O N & T U R N B U L L The Studio of George Wyllie

174 FG290/174 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) EDINBURGH ROCK Mixed media 15cm x 12cm x 4cm (6in x 4.75in x 1.75in)

and two others, both ROCK MUSIC (3) £300-500

175 FG290/177 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) STONE SEAT AND HEADPHONES Signed and dated 1996 to underside, mixed media 55cm x 57cm x 50cm (21.75in x 22.5in x 19.75in)

£400-600

LY O N & T U R N B U L L The Studio of George Wyllie

176 FG290/219 GEORGE WYLLIE M.B.E., A.R.S.A, R.G.I. (SCOTTISH 1921- 2012) FIVE ASIDE Mixed 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 ‘96 football competition and was displayed in various locations in Manchester that summer.

£8,000-12,000

LY O N & T U R N B U L L The Studio of George Wyllie

177 FG290/158 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) EAST OR WEST HOME IS BEST Signed and dated 1988 & 1999, mixed media 32cm x 61cm (12.5in x 24in)

£300-500

178 FG290/156A GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) BERLIN BURD Signed and dated ‘88, mixed media 25cm x 36.5cm (9.75in x 14.25in)

£200-300

179 FG290/153 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) A BIRD IS NOT A STONE MARCH Signed and dated 1991, pencil and ink 25cm x 56cm (9.75in x 22in)

£200-300

LY O N & T U R N B U L L The Studio of George Wyllie

180 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) GOING SOMEWHERE, WAITING FOR SOMEONE Dated 25/11/88, mixed media 56cm x 40cm (22in x 15.75in)

also BEHOLDER OF OBJECTS and VICTIM OF AFFLUENCE (3) £600-900

181 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) BAND BELT Signed and dated ‘82, ink and watercolour 27cm x 21cm (10.75in x 8.5in)

and ANKOFT/ARRIVALS (2) £200-300

182 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) A BIRD IS NOT A STONE MARCH Signed and dated 1991, pencil and ink 25cm x 56cm (9.75in x 22in)

£200-300

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

184 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) GERMANS EATING THE L1200 MENU Signed and dated '72, ink

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

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

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

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

£200-300

and another, YA (2)

£100-200

£200-300

LY O N & T U R N B U L L The Studio of George Wyllie

186 FG290/178 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) HOPE IS HARD Stainless steel, slate 132cm x 176cm x 100cm (52in x 69.25in x 39.25in)

£2,000-3,000

LY O N & T U R N B U L L The Studio of George Wyllie

187 FG290/182 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) THE WORLD IS SMALL CHERRIES ARE BIG Mixed media 96cm x 55cm x 30cm (37.75in x 21.75in x 11.75in)

£2,500-3,500

188 FG290/179 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) CRYSTAL Stainless steel, stone 40cm x 50cm x 26cm (15.75in x 19.75in x 10.25in)

£600-900

LY O N & T U R N B U L L The Studio of George Wyllie

189 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) MIRAGE Signed and dated ‘78, watercolour 17cm x 83cm (6.75in x 32.75in)

£250-350

190 GEORGE WYLLIE M.B.E., A.R.S.A, R.G.I. (SCOTTISH 1921-2012) UNTITLED Signed and dated ‘78, watercolour 17cm x 83cm (6.75in x 32.75in)

£250-350

191 GEORGE WYLLIE M.B.E., A.R.S.A, R.G.I. (SCOTTISH 1921-2012) ON THE LINKS Signed and dated ‘78, watercolour 17cm x 83cm (6.75in x 32.75in)

£250-350

LY O N & T U R N B U L L The Studio of George Wyllie

192 FG290/85 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) BLACK QUESTION MARK Mild steel 55.5cm x 28cm (21.75in x 11in)

£200-300

193 FG290/201 GEORGE WYLLIE M.B.E., A.R.S.A, R.G.I. (SCOTTISH 1921-2012) SURVIVAL KIT Signed and dated ‘76, mixed media 68cm x 17 x 6cm (26.75in x 6.75in x 2.5in)

£200-300

194 FG290/205 GEORGE WYLLIE M.B.E., A.R.S.A, R.G.I. (SCOTTISH 1921- 2012) BAGEL Bronze 12cm x 13cm x 2.5cm (4.75in x 5.25in x 1in)

£200-300

LY O N & T U R N B U L L The Studio of George Wyllie

195 FG324/2 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921 2012) KEEP YOUNG AND BEAUTIFUL Stainless steel and cast iron £1,000-1,500

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

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

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

£100-200

£150-250

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

LY O N & T U R N B U L L The Studio of George Wyllie

198 FG290/169 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) CRAG Mild steel 430cm x 110cm x 110cm (169.25in x 43.25in x 43.25in) Note: This was an early RSA exhibit and also used to sit outside the front door to the Wyllies’ home in Gourock.

£2,000-3,000

199 FG290/195 GEORGE WYLLIE M.B.E., A.R.S.A, R.G.I. (SCOTTISH 1921-2012) A SELECTION OF HARD AND SOFT CHEESES Signed and dated ‘78, ink 28cm x 17cm (11in x 6.75in)

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

and another similar (2)

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

£200-300

£150-250

LY O N & T U R N B U L L The Studio of George Wyllie

201 FG290/187 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) MISS CRANSTON SLEPT HERE Mixed media, three parts (3) table 92cm (36in) high, chair 240cm (94.5in) high, panel 152cm (60in) high

£500-800

LY O N & T U R N B U L L The Studio of George Wyllie

202 FG290/203 GEORGE WYLLIE M.B.E., A.R.S.A, R.G.I. (SCOTTISH 1921- 2012) FOR YOUOOO Mixed media 105cm x 65cm x 25cm (41.25in x 25.5in x 9.75in)

£600-900

203 FG290/192 GEORGE WYLLIE M.B.E., A.R.S.A, R.G.I. (SCOTTISH 1921-2012) YER AIN HI-FIRESIDE Mixed media 86cm x 80cm x 33cm (36.75in x 31.5in x 13in)

£400-600

LY O N & T U R N B U L L The Studio of George Wyllie

204 FG290/43 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) CRADLE Stainless steel, stone 55cm x 245cm x 44cm (21.75in x 96.5in x 17.5in)

£800-1,200

LY O N & T U R N B U L L The Studio of George Wyllie

205 FG290/211 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) KEMPOCK REACH Steel, wood 342cm x 234cm x 40cm (134.75in x 92in x 15.75in)

£1,000-1,500

LY O N & T U R N B U L L The Studio of George Wyllie

206 FG290/168 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) NO SMOKING LIFE BELT Mixed media 75cm x 75cm (29.5in x 29.5in)

£300-500

207 FG290/167 GEORGE WYLLIE M.B.E., A.R.S.A., R.G.I. (SCOTTISH 1921-2012) ACCORDIAN Mild steel 68cm x 65cm x 35cm (26.75in x 25.5in x 13.75in)

£600-900

LY O N & T U R N B U L L The Studio of George Wyllie

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

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

239cm x 36xm x 5cm

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

(94in x 14.25in x 2in) Note: This and the following lot are from the ‘Cosmic Voyage’ exhibition.

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

£500-800

£1,000-1,500

LY O N & T U R N B U L L The Studio of George Wyllie

210 FG290/227 GEORGE WYLLIE M.B.E., A.R.S.A, R.G.I. (SCOTTISH 1921-2012) THE VIKINGS Signed and dated 2002, mixed media 48cm x 87cm (18.75in x 34.25in)

£300-500

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

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

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

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

£500-800

£100-200

LY O N & T U R N B U L L The Studio of George Wyllie

OTHER ARTISTS 213§ FG290/228 KENNY MUNRO (SCOTTISH b. 1954) BUST OF GEORGE WYLLIE Dated 1994, plaster, on painted iron plinth bust 33cm high, 61cm high overall (13in x 24in)

£200-300

214§ FG290/254 REINHARD BEHRENS (GERMAN b. 1951) THE COUNCIL AND THE SOCIETY OF SCOTTISH ARTISTS GRATEFULLY ELECTS GEORGE WYLLIE Dated Dec 1989, mixed media 41.5cm x 28cm (16.5in x 11in)

£150-250

215§ FG290/257 JACK KNOX R.S.A., R.S.W., R.G.I. (SCOTTISH b. 1936) THE GOODSHIP WYLLIE Signed, oil on board 44.5cm x 58.5cm (17.5in x 23in)

and SCULPTORS BIKE, gouache (2) £300-500

LY O N & T U R N B U L L The Studio of George Wyllie

216§ JOHN BELLANY C.B.E., H.R.S.A., R.A., L.L.D. (SCOTTISH b. 1942) WOMAN AND FISHBONE Signed, 1/50, etching 26cm x 26cm (10.25in x 10.25in)

£200-300

217§ WILLIE RODGER R.S.A., R.G.I. (SCOTTISH b. 1930) GILMOURS WHITECROSS WATCHES THE SPINSTERS GO BY Signed and dated ‘77, pencil and ink 42.5cm x 55cm (16.75in x 21.5in)

£150-250

218§ RICHARD DEMARCO C.B.E. (SCOTTISH b. 1930) THE ROAD TO MEIKLE SEGGIE Signed and dated May 1978, pencil and gouache 24cm x 17cm (9.5n x 6.75in)

and THE ROAD TO SALISBURY CRAGS, etching (2) £200-300

LY O N & T U R N B U L L The Studio of George Wyllie

219§ FG290/256 BARBARA RAE C.B.E., R.A., R.S.A., R.S.W., R.G.I. (SCOTTISH b. 1943) GLASGOW REFLECTIONS Signed and dated ‘75, mixed media 50cm x 67.5cm (19.75in x 26.5in)

£300-500

220§ FG290/248 RODERICK BUCHANAN (SCOTTISH b. 1965) UP YER KILT / ENGLAND SUIT Photo collage 26.7cm x 42.7cm (10.5in x 16.75in)

£150-250

221§ FG290/252 BET LOW A.R.S.A, R.S.W., R.G.I. (SCOTTISH 1924-2007) UNTITLED Signed, gouache 11.5cm x 11.5cm (4.5in x 4.5in)

£100-200

LY O N & T U R N B U L L The Studio of George Wyllie

222§ FG290/251 MARGOT SANDEMAN (SCOTTISH 1922-2009) SHELTERING SHEEP Signed and dated ‘90, pen and crayon 20.5cm x 20.5cm (8in x 8in)

£150-250

224§ FG290/255 GORDON H. WYLLIE R.S.W. (SCOTTISH b. 1930) ABSTRACT LANDSCAPE Signed and dated ‘64, mixed media

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

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

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

£100-200

225§ FG290/260 WILLIAM LIONEL WYLLIE R.A. (BRITISH 1851 -1931) BOATS AT SAIL Signed, etching 8.5cm x 35.5cm (3.5in x 14in)

and two others by the same hand (3) £300-500

LY O N & T U R N B U L L The Studio of George Wyllie

FURNITURE & OBJECTS 226 FG290/233 TIM STEAD (ENGLISH 1952-2000) COFFEE TABLE Stained pine 85cm (35in) diameter, 45cm (17.75in) high

£200-300

227 FG290/234 DAVID BOOTH & JUDITH LEDEBOER FOR GORDON RUSSELL LTD. ‘UTILITY’ SIDEBOARD Mahogany and rosewood 122cm (48in) wide, 84cm (33in) high, 46cm (18in) deep Note: Designed for The Festival of Britain Exhibition in 1951

£300-500

LY O N & T U R N B U L L The Studio of George Wyllie

228 FG290/235 ATTRIBUTED TO D. M. KIRKNESS ORKNEY CHILD’S CHAIR Oak, straw and rush 54cm wide (21.25in) , 83cm (32.75in) high, 45cm (17.5in) deep

£200-300

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

230 FG290/261 COLLECTION OF STUDIO OBJECTS Including: carved wood and cast metal figures, ‘wally dug’, train plaque, candlesticks, faux gold blocks, conjoined whisky bottles etc. (qty)

£100-200

END OF SALE

THE GEORGE WYLLIE FOUNDATION The 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 PU]LZ[PNH[PVU VM [OPZ ZLTPUHS [O JLU[\Y` HY[PZ[ HUK OPZ JVU[PU\PUN PUÅ\LUJL 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 his contemporaries; 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 [OL 6MÄJL VM [OL :JV[[PZO *OHYP[` 9LN\SH[VY HUK HU VMÄJPHS SH\UJO PZ WSHUULK MVY 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.

LY O N & T U R N B U L L The Studios of John Cnningham and George Wyllie

Index Anderson, G., 93, 99, 100

Houston, J., 86

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

Knox, J., 215

Cunningham, J., 1-79 Demarco, R., 219 Devlin, G., 83 Donaldson, D., 87, 90 Ferguson, D., 94 Gardner, A., 95 Gauld, D., 88 Goudie, A., 82, 96

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

Low, B., 221 Mackenzie, K., 91 McGhie, J., 103, 104 Munro, K., 213

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

Philipson, Sir R., 87 Picasso, P., after, 84 Rae, B., 219, 223 Rodger, W., 217 Sandeman, M., 222 Schotz, B., 80, 81

Glossary of Cataloguing Terms The following expressions with their accompanying explanations are used by Lyon & Turnbull as standard cataloguing practice. Our use of these expressions does not take account of the condition of the lot or the extent of any restoration.

Name(s) or Recognised Designation of an Artist without any Qualification In our opinion a work by the artist

Buyers are recommended to inspect the property themselves. Written condition reports are usually available on request.

Studio of ... / Workshop of ... In our opinion a work executed in the studio or workshop of the artist, possible under his supervision

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

Circle of ... In our opinion a work of the period of the artist and showing his influence. Follower of ... In our opinion a work executed in the artistâ&#x20AC;&#x2122;s style but not necessarily by a pupil. Manner of ... In our opinion a work executed in the artistâ&#x20AC;&#x2122;s style but of a later date After ... In our opinion a copy (of any date) of a work of the artist.

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Signed ... / Dated ... / Inscribed ... / In our opinion the work has been signed/dated/inscribed by the artist. Bears Signature ... / Date ... / Inscription ... / In our opinion the signature/date/inscription appears to be by a hand other than that of the artist. Dimensions are given height before width.

Scottish Contemporary & Post-War Art Tuesday, 20th August, 2013 33 Broughton Place, Edinburgh EH1 3RR

IAN HAMILTON FINLAY (SCOTTISH 1925-2006) PANZER V (PANTHERA SEMI-REDUCTA) Painted wood - a unique work and the first in the series, with Ian Gardner, Roderick Lyle and Robin Harrison 1977/79 22.5cm x 31.5cm x 13cm (9in x 12.25in x 5in) Provenance: Frith Street Gallery, London 1991 together with certificate of authenticity signed by the artist and dated 22nd March 1991 on Graeme Murray headed notepaper

ÂŁ5,000-8,000

Viewing times Thursday, 15th August 10am - 5pm Friday, 16th August 10am - 5pm Saturday 17th August 12 noon - 4pm Sunday, 18th August 12 noon - 4pm Monday, 19th August 10am - 5pm Morning of sale strictly by appointment only

Enquiries Nick Curnow nick.curnow@lyonandturnbull.com Emily Johnston emily.johnston@lyonandturnbull.com Charlotte Riordan charlotte.riordan@lyonandturnbull.com

w w w. lyo n a n d t u r n b u l l . co m

STANDARD TERMS & CONDITIONS OF SALE

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

Lyon & Turnbull carries on business with bidders, buyers and all those present in the auction room prior to, or in connection, with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.

6. PAYMENT

1. DEFINITIONS In these Conditions: (a) “Auctioneer” means the firm of Lyon & Turnbull or its authorised auctioneer, as appropriate; (b) “deliberate forgery” means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which, at the date of the sale, had a value materially less than it would have had if it had been in accordance with the description; (c) “hammer price” means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) “terms of consignment” means the stipulated terms and rates of commission on which Lyon & Turnbull accepts instructions from sellers or their agents; (e) “total amount due” means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) “sale proceeds” means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising; (g) “You”, “Your”, etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate. 2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid, which must be raised before the next lot is offered, shall be settled at the auctioneer’s absolute discretion. (c) Bidders shall be deemed to act as principals. (d) Once made, no bid may be withdrawn. (e) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. 3. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion. 4. THE PURCHASE PRICE The buyer shall pay the hammer price together with a premium thereon. 25% up to £25,000 / 20% thereafter. VAT will be charged on the premium at the rate imposed by law. 5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk (*) or dagger (†). Value Added Tax is charged at the appropriate rate

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(1) Immediately a lot is sold you will: (a) pay to us the total amount due in cash or in such other way as is agreed by us. We accept cash, bank transfer (details on request), Switch or Debit Cards and Visa or MasterCard (please note there is a surcharge of 2% (VAT included) when using credit cards). We do not accept American Express. (2) any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. 7. TITLE AND COLLECTION OF PURCHASES (1) The ownership of any lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (2) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than four working days following the day of the auction or upon the clearance of any cheque used for payment after which you shall be responsible for any removal, storage and other associated charges. (3) No purchase can be claimed or removed until it has been paid for. (4) It is the buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main saleroom and the potential storage charges for lots not collected by the appropriate time. 8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (1) If any lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (a) to proceed against you for damages for breach of contract; (b) to rescind the sale of that lot and/or any other lots sold by us to you; (c) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (d) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (e) to charge interest at a rate of 1.5% per month above the current base rate on the total amount due, to the extent it remains unpaid for more than four working days after the sale; (f) to retain that or any other lot sold to you until you pay the total amount due; (g) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) to apply any proceeds of sale of other lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of) any of your property in our possession for any purpose until the debt due is satisfied. (2) We shall, as agent for the seller and on their behalf pursue these rights and remedies only as far as is reasonable to make appropriate recovery in respect of breach of these Conditions

9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale. 10. COMMISSION BIDS While prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we shall if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer or our employees or agents shall be responsible for any failure to do so. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made. 11. WARRANTY OF TITLE AND AVAILABILITY The seller warrants to the auctioneer and to you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims. 12. AGENCY The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.

held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer or our employees or agents or the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 “information to buyers”. (2) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation. 16. FORGERIES Notwithstanding the preceding Condition, any Lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

13. TERMS OF SALE

GENERAL

The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot.

17. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

14. STANDARD VENDOR FEES AND CHARGES (Subject to VAT) (1) Commission: 15% of the first £3000 and 10% thereafter is charged on the selling price of each lot (subject to a minimum charge of £30). Loss and damage warranty: 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 lot organized for sale, a withdrawal fee will apply; (a) If withdrawn over 28 working days prior to the sale, this will be charged at 10% of the mid estimate along with any ancilliary incurred (such as photography), all subject to VAT at the current rate. (b) If withdrawn within 28 working days of the sale, this will be charged at 20% of the mid estimate along with any ancilliary incurred (such as photography), all subject to VAT at the current rate. 15. DESCRIPTIONS AND CONDITION (1) While we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably

18 (1) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (2). Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them. 19. Any notice to any buyer, seller, bidder or viewer may be given by first class mail in which case it shall be deemed to have been received by the addressee 48 hours after posting. 20. Special terms may be used in catalogue descriptions of particular classes of items (Books, Jewellery, paintings, guns, firearms etc) in which case the descriptions must be interpreted in accordance with any glossary or guidance notes appearing in the catalogue. These notices and terms will also form part of our terms and conditions of sales. 21. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect. 22. Scottish law applies to the interpretation of these Conditions.

Absentee bid form Sale/customer details 33 Broughton Place Edinburgh EH1 3RR Tel +44 (0)131 557 8844 Fax +44 (0)131 557 8668

Sale Title Sale Date

Sale No.

Title

Initials

Client No.

182 Bath Street, Glasgow G2 4HG Tel +44 (0)141 333 1992 Fax +44 (0)141 332 2928 e-mail: info@lyonandturnbull.com www.lyonandturnbull.com

Surname Address Postcode Telephone

I request Lyon and Turnbull, without legal obligation of any kind on its part, to bid on the following lots up to the prices listed.

Fax

E-mail

£ Sterling limit Lot.No

Description

Ex. Premium & VAT

I understand that if any of my bids are successful the total price payable will be the amount of the final bid plus a Buyer’s premium calculated at the following rates: 25% up to £25,000 / 20% thereafter. VAT will be charged on the premium. The premium and VAT is payable by all purchasers. Lots in the catalogue marked * or † are subject to VAT on the hammer price as well as the premium. Where there are identical bids for a lot, the first bid received will be have precedence. Please make certain that your bids are submitted at least two hours before the start of the sale.

Client Signature

Date

Lyon and Turnbull office use Date

Time

Bidder No.

Received Entered

103

EDINBURGH SALEROOM

Waverley Station

P R IN C

WA ITH LE

N ST

Smaller items Mailboxes Etc 44/46 Morningside Road Edinburgh EH10 4BF The direct link to the ordering form is: http://www.mbeedinburgh.com/a rt-and-antiques.php Tel: +44 (0)131 556 6226 Fax: +44 (0)131 652 3673 Email: edinburgh@mbescotland.com

QU EE N

Packing and Shipping Please note that we do not pack or ship items. The following suggested carriers will be able to arrange packing and shipping; please contact them directly to receive a quote. You may wish to contact an alternative courier.

Local Deliveries Local deliveries can be arranged by A&S Pert Removals. Telephone 07876 343520.

St Andrew Square

Lyon & Turnbull

ES ST

ITH

Parking Multi-storey car parking is available at Greenside Place and in the St. James Centre; five minutes walk from the saleroom.

Furniture and larger items Constantine Constantine House North Caldeen Road Coatbridge North Lanarkshire ML5 4EF Tel: +44(0)1236 750055 Fax: +44(0)1236 750077 E-mail: enquiries@constantinemoving.com A Van Man Transport Unit 5, Benridge Park Holyrood Close, Creekmoor Poole, Dorset BH17 7BD Tel: +44 (0)1202 600 012 Fax: +44 (0)1202 600 206 Email: office@avmt.co.uk Fine Art Carriers Gallery Support Group 37 Cremer Street London E2 8HD Tel: +44 (0)20 7729 6692 Email: info@gallerysupportgroup.com

Arrangements for Sold Lots All bought items will be available for collection from The Lighthouse until 2pm the day after the sale. Thereafter paintings and small sculpture can be removed to our Glasgow office by request, otherwise all works and larger items will be removed to our Edinburgh stores. These items will be stored free of charge until the Friday following the sale, thereafter charges will be incurred. Administration fee: £20 + VAT Storage charges per lot per day are: Large Items £5 inc. insurance + VAT Small Items £2.50 inc. insurance + VAT

© Lyon & Turnbull Ltd. 2013. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted by any form or by any means without the prior written permission of Lyon & Turnbull Ltd.

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Waverley Station

Parking Multi-storey car parking is available at Greenside Place and in the St. James Centre; five minutes walk from the saleroom. WA ITH LE

ITH

Smaller items & Pictures Mailboxes Etc 44/46 Morningside Road Edinburgh EH10 4BF The direct link to the ordering form is: http://www.mbeedinburgh.com/ art-and-antiques.php Tel: +44 (0)131 556 6226 Fax: +44 (0)131 652 3673 Email: edinburgh@mbescotland.com

QU EE N

Local Deliveries Local deliveries can be arranged by A&S Pert Removals. Telephone 07876 343520.

Lyon & Turnbull saleroom

St Andrew Square

ES ST

P R IN C

Arrangements for Sold Lots All bought items will be held free of charge at Broughton Place until the Friday following the sale. Thereafter lots will be removed to store in Edinburgh and a charge incurred. Administration fee: £20 + VAT Storage charges per lot per day are: Large Items £5 inc. insurance + VAT Small Items £2.50 inc. insurance + VAT Catering Refreshments will be available at the saleroom on view days and day of sale.

© Lyon and Turnbull Ltd. 2013. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted by any form or by any means without the prior written permission of Lyon and Turnbull Ltd.

33 Broughton Place, Edinburgh EH1 3RR Tel +44 (0)131 557 8844 Fax +44 (0)131 557 8668 email. info@lyonandturnbull.com www.lyonandturnbull.com

182 Bath Street, Glasgow G2 4HG Tel +44 (0)141 333 1992 Fax +44 (0)141 332 8240

78 Pall Mall, London SW1Y 5ES Tel +44 (0)20 7930 9115 Fax +44 (0)20 7930 7274