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Lot 441
Large Bust in the Form of ‘The Hero German Soldier’, the black painted plaster bust shows a well detailed helmeted German soldier looking menacingly to the right with heroic bare torso. Mounted to a large squared base. Reverse of the bust has a impressed stamping but this is not clear. Shipping label from HQ United States Forces European Theatre. Bust stands 67cms high. Some chips and wear. A superb statement piece, with the iconic image of the hero German soldier. Please note due to the size and weight of this item we are not able to offer in house post and packing. Specialist shipping or personal collection only.
Lot 305
Limited edition porcelain piller box from Extravaganza Fair, October 2001. Scene of post office letters in the front and bunny with bicycle on top. Includes box, dimensions: 5''L x 5''W x 7.5''H. Royal Doulton Bunnykins backstamp. Issued: c. 2001Dimensions: 6''H x 3.5'' diaManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Lot 98
Lanyon, Andrew.1990 Peter Lanyon 1918-1964 - signed limited edition in dust wrapper and slipcase. Signed and numbered 368/500, produced for subscribers, set in 12 point Bembo and printed letter-press on mould-made paper, richly illustrated with colour plates after Lanyon's art by St. Ives Printing and Publishing Company. An excellent copy of Lanyon's biography of his father, an important post-war artist known for his abstract landscapes of Cornwall. Large 8vo.
Lot 214
Set includes: Ronnie Corbett (browns, red, and black) and Ronnie Barker (grey, blue, and black).Ronnie Corbett and Ronnie Barker, the comic duo whose television show, " The Two Ronnies," enthralled viewers for seventeen years, gain enduring recognition in this companion pair of character jugs, issued in a limited edition of 5,000. This jug was commissioned by Lawleys By Post. Royal Doulton backstamp. Artist: David B. BiggsIssued: 1998Dimensions: 4"H, 4.5"HEdition Number: 210 Edition Size: 5000Manufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Lot 1213
ENGLISH SCHOOL, LATE 19TH CENTURY (2)Portrait miniature of a young girl, thought to be Hilda Mary Dowson (née Greg) (1883-1956) with inscribed label (attached to the back of frame) on ivory (ref. WY1APGJS) 7.5cm in a gilt-metal frame and with a case together with a portrait miniature of a woman, thought to be Margaret Lilian Greg (1881-1945), on ivory (ref. RCC2592B), 9.3cm, in a gilt-metal frame and with a case (2) Provenance Private collection, UKFootnoteHilda Mary Dowson (née Greg) was born on 23 February 1883 in Wilmslow, Cheshire, to parents Walter and Susan Elizabeth (née Gaskell). She was baptised on 3 April 1883 at Styal Presbyterian Chapel in the parish of Wilmslow. Her father was a solicitor and in 1891 the family was living at Lee Hall, Mottram St Andrews, Cheshire, together with five servants. Lee Hall was a large house with twenty-five rooms. She had three siblings: Margaret Lilian, born in 1881, Elizabeth Gaskell born 11 December 1883 and Robert Lionel born 1893.There is no trace of Hilda in the 1901 census. She married Gerard Septimus Dowson, a cousin, when she was twenty-two on 29 June 1905 at the parish church of Prestbury, Cheshire. Gerard was an estate agent born in Nottingham. Hilda and Gerard moved to The Manor House in Radcliffe on Trent in 1905, which they rented until 1921. The 1911 census records Hilda and Gerard living at Lee Hall with her widowed mother and her three unmarried children. Hilda’s sister Elizabeth is described as an art student; her brother Robert is also a student. The household now had nine servants including two nurses. It is not known how long Hilda and Gerard stayed at Lee Hall but newspaper reports reveal they were active in Nottingham in 1910 and 1913. In 1922 the Dowsons moved temporarily from The Manor House to The Chestnuts next door, before purchasing The Grange located on Main Road, Radcliffe on Trent, in 1924.Women’s Suffrage MovementThe women’s suffrage campaign began in the 1860s and ended in 1928 when women gained full enfranchisement. The campaign started in Nottingham in 1871 when a Nottingham committee of the London National Society for Women’s Suffrage was founded. Its president was Richard Armstrong and secretary was Elizabeth Sunter. Anderson Brownsword chaired the first meeting, held in Nottingham. In 1872 the branch became associated with the new Central Committee of the National Society for Women’s Suffrage, the first national group to campaign for votes for women. In the 1880s and 1890s demand for votes for women was mainly sought via constitutional means. Alice Dowson (Hilda’s mother-in-law) had been one of the speakers at the ‘grand demonstration of women’ held in Nottingham in November 1881. She became secretary of the branch in February 1894. Helena Brownsword had married William Enfield Dowson, oldest son of Alice and brother of Gerard, in July 1884. She took over Alice’s role as secretary in 1896 when her mother-in-law’s health deteriorated. Helena eventually took the role of President with Hilda taking her place as secretary.Hilda became involved with the Women’s Suffrage movement in Nottingham after she married Gerard Dowson in 1905. His mother Alice, sister Alice Maud, known as Maud, and sister-in-law Helena, known as Nellie, had been involved in the movement from very early on. At the same time Hilda’s mother, Susan Greg, and her sisters were active in the suffrage movement in Macclesfield. The Dowson and Greg families were closely connected. Alice Dowson, Gerard’s mother, was also Hilda’s aunt and sister of her father Walter.The early 1900s saw the Nottingham Society become an active constituent of the National Union of Women’s Suffrage Society (NUWSS). In April 1908 two large suffrage meetings took place in Nottingham, Hilda being one of the organisers. Christabel Pankhurst spoke at one of the meetings. That same year Hilda travelled to London along with members of the Dowson family and supporters to a national Votes for Women demonstration held on June 13th. The event attracted crowds of 10,000 people, mainly women; the demonstrators marched through central London to the Albert Hall. It was deemed a success but unfortunately the Government of the day chose to ignore it. On December 4th 1908 the Derby branch of the NUWSS held its inaugural meeting. Hilda was one of the speakers and said that the vote “would provide a symbol of liberty and citizenship, a safeguard of one’s rights and privileges, and a powerful instrument to be used as occasion demanded.”On 5 July 1909 the NUWSS organised a meeting in Nottingham Market Square with Mrs Henry Fawcett, Miss Eleanor Rathbone and Mr Edward Carpenter as speakers. The police had not attended the meeting although they had been requested and the speakers were unable to make themselves heard; the crowd was unruly and anti-suffrage feelings were made plain. In January 1910 there was a General Election and Hilda and her sisters-in-law went to the polling station at Lovers Lane schoolroom in Newark, hoping to get voters to sign petitions for their cause.They had to stand outside and suffered abuse from the male voters. The Nottingham Evening Post reported on February 23rd that 8000 signatures in total had been collected by women outside Nottinghamshire’s polling stations, which were then presented to constituency members Lord Henry Bentinck and Mr. J.E. Ellis at the society’s office in Bridlesmith Gate. The Dowsons had managed to collect 2,232 signatures from the Rushcliffe district and Hilda’s husband, Gerard Dowson, was among those in the party receiving the petition. Both Lord Bentinck and Mr Ellis were in favour of women’s suffrage; Mr Ellis promised to present the petitions to parliament.The Nottingham Evening Post also reported that the NUWSS held its annual meeting on May 31st 1910 at the Mikado café in Nottingham. Hilda and Helena Dowson were appointed joint secretaries. It was noted that there were now 200 branches of the NUWSS across the country and new branches had opened locally in Southwell, Newark and Hucknall. In July 1910 Hilda and other family members attended a demonstration in London to support the second reading of the suffrage bill (First Conciliation Bill).A fete and sale of work was held in the gardens of the homes of Mr and Mrs William Dowson and Mrs Watson in The Park, Nottingham on 23 June 1910. It included a performance of ‘Lady Geraldine’s Speech’, a suffrage play arranged by Hilda. A suffrage shop was opened in Nottingham on Bridlesmith Gate selling campaign literature where Hilda was often to be found along with the rest of the family. By this time, the Women’s Social and Political Union (WSPU), which advocated militant action to gain votes for women, had attracted considerable support in Nottingham; the NUWSS distanced itself from the WSPU. Nevertheless, Hilda, now secretary of the Nottingham NUWSS, continued to be active in the suffrage movement. In 1911 she took part in a tour of Northamptonshire villages where she spoke at meetings on the suffrage question. In 1912 she organised two successful meetings in Bottesford and Bingham in which the suffragist newspaper ‘The Common Cause’ was sold. Her mother, Susan Greg, participated in a 1911 NUWSS demonstration in London of over 40,000 women. Her sister Margaret Greg was one of 50,000 women who joined a suffragist pilgrimage in 1913. They walked to London from all corners of the country where they were addressed at Hyde Park by Millicent Fawcett, leader of the NUWSS.. The aim of the pilgrimage was to show the country widespread support for ‘votes for women’ and that thousands were prepared to campaign legally and peacefully. Margaret wrote to Hilda while travelling and described the journey.In July 1913 the Nottingham...
Lot 176
Booke of Receipts, manuscript in several hands, together 113pp. excluding blanks (39pp. 17 century, 32pp. 18 century & 15pp. a mix of 18 & 19 centuries; reverse entries 27pp. 17 century), reverse entries, 23pp. from both ends, first and last f. soiled and with brown marks, first 12ff. slightly wormed in inner margins, some ff. with other slight tears and marks, old Sotheby's catalogue description loosely inserted, loose, in the remains of a vellum indenture repurposed as the cover of this recipe book, soiled, creased and defective with loss, housed in an 18 century leather wallet, Post horn watermark, folio, 1670 [18 & 19 centuries].*** Cookery recipes including: "To prserve Pippins red"; "To make marmalade of Oranges"; "To make marmalade of wardens [pears] a most Cordiall marmalett"; "To make the Italian Biskett"; "To make marmaled of Cherreys Mr. John Gard; "To make a sacke Possett"; "How to coller Beefe"; ""Duck sause"; "To make Westphalia Bacon"; "To make Pancakes"; "To make Duke of Norfolks Punch"; "To make Syrup of Elder"; "Dutch Biskets"; "To make Cyder"; "A Brown Bread Pudding" etc.Medical recipes including: "Dr. Burges's drink against ye Plague, Purples, spotted ffever, Measles, Surfeits or ye like sudden sicknesses"; "The D. of Newcastle's Diet drink"; To make Almond cheese"; "A medicine to cure the green sicknesse"; "Sr Tho: Millingtons Diet drink for sweetening ye blood"; "For the Biting of a Mad Dog"; "Lady Parsons's Yellow Salve"; "ffor ye stone in the Bladder"; "A water for all manner of sore Leggs from the Knee downewards"; "Almond milke"; "A Unguent after a hard Travell" etc.
![Dick (Philip K.) The Penultimate Truth, first English [and first hardback] edition, ink ownership inscription from same year](https://cdn.globalauctionplatform.com/bdf27cdf-4b22-4e00-b3ad-b12c00e4aecd/b90c3c86-0191-4217-856d-b12c00f70f13/468x382.jpg)
Lot 274
Dick (Philip K.) The Penultimate Truth, first English [and first hardback] edition, ink ownership inscription from same year as publication on front free endpapers, original boards, dust-jacket, spine toned, a few light surface marks to covers, spine ends very lightly creased, still overall a very crisp copy, 8vo, 1967.*** The rare science-fiction novel by the American author is set in a future (the year 2025) where the bulk of humanity is kept in underground shelters under the guise that World War III is playing out above them. Perhaps one of his more cynical depictions of a duplicitous U.S. government, the story sets out another characteristic vision of a post-atomic holocaust future. It was written during one of Dick's most prolific periods, and was the first of four novels that he saw published that year alone. The work was originally released in 1964 as a Belmont paperback, thus making this edition the first English hardback edition. Rare in commerce.
Lot 120
Elizabeth I (Queen of England & Ireland, 1533-1603) & Charles I (King of England, Scotland & Ireland, 1600-49).- [Volume of speeches and tracts including Elizabeth I's Speech at Tilbury against the Spanish Armada in 1588 and the politics of the Short and Long Parliaments in the year 1640], manuscripts in a variety of hands (many in 1 hand), together 48 speeches and tracts in c. 695pp., a few blank ff., some vertical folds, 1 blank f. partly torn away, some ff. slightly creased, slightly browned throughout, ink ownership signature of "Robr. Harington" on front free endpaper, original calf, double blind stamped borders, edges a little rubbed, corners bumped, rebacked in modern calf, gilt panelled spine, front free endpaper pot watermark, other ff. a variety of watermarks including post horn and bunch of grapes, sm. folio (291 x 180mm.), 1640, 1647 & 1648.*** Two of the defining moments in British history.Speeches and tracts including:(1). [Elizabeth I] Queene Elizabeth hir Speech. Before hir Army at Tilbury when they looked every hower for ye Landing of ye duke of Parma whereupon she tooke occasion to deliver this Excellent Speech ye Earle of Essex Sr John Norris And Sr ffrancis Drake wayting on hir Stirrup."I am come amongst you at this time... fully resolved in ye middest and heat of ye Battell to live and dye amongst you all, to lay downe for my God and my Countrymyne Honor and my blood even in ye dust and although I have ye body of a weeke and feeble woman yet have I ye heart and ye Courage of a King, and that of a King of England too... ," 1p., n.d., [c. 1640].A manuscript version of one of the greatest war speeches against foreign invasion in the English language. The speech has some variation and omissions from the fullest known text which was published for the first time in 1654. It is unclear whether Drake was present as intimated here, at Tilbury, on 9 August, as on 7 August he was at Gravelines, ordering the sending in of fire ships to attack the Armada in harbour. (2). [Henrietta Maria (Queen, consort of Charles I, 1609-69)] A Message from the Queen's Ma:tie to the House of Commons by Mr Comptroller...", 1p., [Rushworth iv 169], 6th February 1640.Henrietta Maria's message to the House of Commons on a variety of matters, including that she was willing to persuade the king to recall parliament, her acknowledgement that her approach to the pope to gain support for the king's northern wars was "distastfull to ye Kingdome...", and promising that she would not flaunt her Catholicism.(3). [Lenthall (William, lawyer and speaker of the House of Commons, 1591-1662)] Mr Lentall speaker of the Commons house his speech in the upper house of Parliament 5th November 1640, 14pp., [Rushworth iv 17], 1640.Lenthall's speech to the king in the House of Lords in which he accepts the Speakership of the House of Commons, with the king's affirmation.(4). [Charles I]. To ye Speaker of ye House of Peeres [e]xtempore to be Communicated to the Lords & Comons in p[ar]liam[en]t assembled at Westm[inste]r... Charles R, 1p., Holdenby, 6th March 1646 [1647].A letter from the king imprisoned at Holdenby Hall, Northamptonshire, to parliament asking for "some of my Chaplins whom I esteme & reverend". The request fell on deaf ears, "for the whole of his time at Newcastle and Holdenby (May 1646–June 1647) he was refused his own choice of chaplains and offered only rigid presbyterians, whose services he spurned. He attended no act of worship and denied himself the sacrament of holy communion throughout that time." - Oxford DNB.(5). [Charles I]. his maiesties resons against ye pretended jurisdiction of ye high court of Justice wch hee intend to deliver in writieng on monday Januarie ye 22th 1648 faythfully transcribed oute of ye originall coppie under ye Kings owne hand, 3pp., [Rushworth vii 403], 1648.Charles I's protestation against the legality of the court set to try him, "for houe can ainie freeborn subiect of England call life or any thing hee possesseth his owne, if power wth out righte daylie make newe, & abrogate ye olde fundamentalle lawe of ye land... ."(6). Pym (John, politician, 1584-1643) Mr Pyms speech in ye painted Chamber at ye Conference betwixt both the houses of pliamt ffebr. xxvith 1640, 28pp., [Rushworth iv, 199-202], 1640.Pym's speech in support of the charges against William Laud, Archbishop of Canterbury, covering both secular and religious matters, and which ultimately led to his imprisonment in 1641 and execution in 1645. *** The majority of these tracts are concerned with the febrile politics of 1640, the year of the Short and Long Parliaments, called by Charles I in the wake of his catastrophic war with the Scots, and their subsequent invasion of the north of England. The king had gone to war in Scotland without enough money and now faced the dilemma of calling on parliament, in abeyance since 1629, to make him a financial grant. The Short Parliament sat for only three weeks between April and May 1640, parliament being more interested in the redressing of its grievances with the perceived arbitrary powers of the crown. The Long Parliament, so called because it lasted intermittently from 1640 to 1660, proved to be equally intractable and eventually led to the king raising his standard at Nottingham in 1642, and to the start of the Civil War. The Scots and English wars were distinct, but both were inextricably entwined. The king had gone to war in Scotland in an attempt to impose changes in religious practice which brought about the Covenant and the expulsion of the bishops. The Civil War in England was about the governance of the realm, either through the authority of king or parliament. Both wars were ultimately about the sovereignty of the crown. These political tracts, many with folds, would have circulated in manuscript among the population, before being bound up later in the century.Provenance: Typed note of Roger Warner Antiques, Burford, "Purchased from sale of Library at Moccas Court, Herefordshire, property of Sir Geoffrey Cornewall, Bt. J.P., 1946"; Roger Warner (1913-2008), antiques dealer and collector.
Lot 119
* GORDON HOPE WYLLIE RSW (SCOTTISH 1930 - 2005), LONLEY COTTAGE oil on paper, signed and dated '77, titled versomounted, framed and under glassimage size 10cm x 13cm, overall size 26cm x 28cm Note: Gordon Wyllie was born in Greenock and in 1949 was accepted to study at the Glasgow School of Art. Under the tutelage of such luminaries as Edward Odling and Mary and Willie Armour, Gordon distinguished himself, graduating in 1953 after an eminent final year. He was awarded the post-diploma, or Master's course, won the Scottish Academy Award and also the Newbery Medal, the school's most prestigious prize. This was all the more remarkable considering that Gordon had, in his diploma year, returned home to care for his father, whose seriously deteriorating health ended in death two months before the degree show, and Gordon himself had suffered a bout of pneumonia. With a scholarship award, he studied that summer at Hospitalfield, Arbroath, as a post-graduate under Ian Fleming. Fleming inspired Gordon and encouraged him in abstraction, with which he occupied himself for the next few years. Meanwhile, he trained at Jordanhill College of Education in Glasgow to become a teacher, in the vanguard of the resurgence of art teaching in Scottish schools by the new art masters, undoubtedly because they painted actively while teaching full-time. Passionate about art education, he was instrumental in influencing many students to pursue a career in the creative industry. A former pupil aptly described his classroom as a "guided exploration rather than a formal lesson". His love of the Scottish countryside is mirrored in his work and undoubtedly stemmed from the bank of images he built when, as a youngster, he travelled with his parents around the country. Argyll and the Western Isles were his favourite destinations, where he was fascinated by the crofts and farms sprouting from the land. Small houses typified his landscapes and still-lifes included abstracted landscapes; flowers, particularly poppies, fruit and fish feature in his later output. In 1996, he was awarded the Alexander Graham Munro Prize at the RSW exhibition in Edinburgh. His work featured regularly in one-man and combined shows and at his last one-man show in London in 2003, demand for his paintings remained high, as it has done ever since. In the last couple of years auction prices, in Glasgow and elsewhere, have shown a significant surge, reflecting the increasing collector interest in Gordon Wyllie's work.
Lot 96
* MICHAEL SCOTT (SCOTTISH 1946 - 2006), PIED PIPER oil on canvas, signed, titled label verso framed and under glass image size 77cm x 62cm, overall size 93cm x 77cm Label verso: The Contemporary Fine Art Gallery, Eton. Note: Born in Aberdeenshire in 1946, Michael Scott (Mike Scott) studied Political Science at Liverpool before doing a one year's teacher training course in Huddersfield. After moving to Glasgow, Scott took a full-time research post at Glasgow University followed by a lecturing post at the re-named Glasgow Caledonian University. By 1997 demand for his work had become so great that he had to resign his post at the University to paint full time. Awards Include The David Cargill Senior Award, Royal Glasgow Institute. Exhibitions Include 1988~John D Kelly Gallery, Glasgow: 1994~Roger Billcliffe Fine Art, Glasgow ~Contemporary Fine Art, Eton; 1995~Portland Gallery, London; 1997~Fosse Gallery, Stowe on Trent ~Contemporary Fine Art, Eton; 1998~Portland Gallery, London; 2001~Portland Gallery, London, 2004~Portland Gallery, London; 2010~A Memorial Exhibition, Roger Billcliffe, Glasgow. Collections Include Distillers plc, Robert Fleming Holdings Ltd, Spencer Stuart & Associates, Teachers Whisky, Whyte and Mackay and others. To mark the 10th anniversary of Michael Scott's death, The Roger Billcliffe Gallery staged an exhibition of his work 1st April - 30th April 2016. In The Scottish Contemporary Art Auction of 24th October 2021, lot 599 "Echo & Narcissus" a 60 x 60cm oil by Michael Scott sold for £3800 (hammer) and in recent times, other examples in our auctions have more than once achieved prices in excess of £4000 (hammer). In The Scottish Contemporary Art Auction of 23rd December 2021, lot 655 "Dancing The King" sold for £5000 (hammer). Condition of the picture is good overall, with no visible or known issues
Lot 50
* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013), THE PLAYERS (1967) oil on board, signed and dated "Feb 1967" verso unframed overall size 161cm x 183cm Note 1: Music was a big part of John Bellany's life and he grew up with a piano in the family home. His mother played and John had lessons from the age of eight. He later joined a band "The Blue Bonnets" and it monopolised his weekends almost to the end of his Edinburgh College of Art days. The Blue Bonnets were "the cultural sensation of East Lothian". When Bellany took up his place at The Royal College of Art in 1965 he was hungry for knowledge. The anonimity of London, the lost souls and loneliness, the joyless crowds on the tube and the lack of camaraderie after the smaller friendlier world of Edinburgh were alienating. His early RCA works showed the tensions and anxieties of metropolitan life. However, with the unwavering support of Carel Weight and his tutors he started his love affair with the capital and all the cultural opportunities it could offer.In the summer of 1967 Bellany, accompanied by Sandy Moffat and Alan Bold, visited what was then East Germany where they celebrated John's twenty-fifth birthday. During the trip, on a day of creeping fog, the trio visited the site of the Buchenwald Concentration camp. It was the "thunderbolt of all time" for Bellany. He was convinced that a loving God could never have countenanced such evil. "Buchenwald marked the true end of innocence for Bellany" "Hell obsessed him after Buchenwald" said Moffat. Dated verso "Feb 1967" in Bellany's hand "The Players" is a large and rare early example of the post Edinburgh and pre Buchenwald period in his career. Note 2: It is extraordinary to contemplate that Bellany was only in his mid twenties when he painted these exceptional works about which London Standard art critic Brian Sewell later commented ".... in the 1960s (Bellany) painted such pictures as to make us think him as a painter with Rembrandt". John Bellany's early work, especially the large oil on boards, is highly prized by collectors and their appearances at auction are ever rarer. The most recent example to appear in our auctions was "The Finnon Smoker" (1965) 183 x 122cm oil on board, lot 65 , 29th May 2022 which sold for £80,000 (hammer).Provenance: Acquired directly from the artist in the early 1970s by Mike Hanson of London and by descent. Mike Hanson taught scenic construction at Croydon College of Art on the Theatre Design course in the 1970s.
Lot 200
* PETER MCLAREN (SCOTTISH B.1964), STILL LIFE WITH POPPIES oil on board, signed and titled '91 versoframedimage size 64cm x 74cm, overall size 80cm x 90cm Exhibition label verso: Modern Masters, The Scottish Gallery 2013, EdinburghNote: Peter Mclaren was born in Edinburgh in 1964, he was schooled in Fife then studied at the Edinburgh College of Art. He won the John Kinross Scholarship, from the Royal Scottish Academy, which allowed him to study in Florence, and the Richard Ford Award, from the Royal Academy in London, to study the works in the Prado, Madrid. Early influences include the collection of Scottish Colourists and post war expressionist paintings from his home town of Kirkcaldy's Museum. As a student Mclaren travelled by bicycle to see collections in Amsterdam, Arnhem, Paris and London. Post-graduation, he won an Andrew Grant Scholarship which introduced him first hand to American art. Wyeth, Pollock, Lichtenstein and Warhol. In 1989 Mclaren won the inaugural British Airways Most Promising Artist Award. His work is held in many public and private collections.Condition of picture is good overall, with no visible or known issues.
Lot 118
* GORDON HOPE WYLLIE RSW (SCOTTISH 1930 - 2005), HAYFIELD oil on paper, signed, titled versomounted, framed and under glassimage size 9cm x 15cm, overall size 23cm x 32cm Note: Gordon Wyllie was born in Greenock and in 1949 was accepted to study at the Glasgow School of Art. Under the tutelage of such luminaries as Edward Odling and Mary and Willie Armour, Gordon distinguished himself, graduating in 1953 after an eminent final year. He was awarded the post-diploma, or Master's course, won the Scottish Academy Award and also the Newbery Medal, the school's most prestigious prize. This was all the more remarkable considering that Gordon had, in his diploma year, returned home to care for his father, whose seriously deteriorating health ended in death two months before the degree show, and Gordon himself had suffered a bout of pneumonia. With a scholarship award, he studied that summer at Hospitalfield, Arbroath, as a post-graduate under Ian Fleming. Fleming inspired Gordon and encouraged him in abstraction, with which he occupied himself for the next few years. Meanwhile, he trained at Jordanhill College of Education in Glasgow to become a teacher, in the vanguard of the resurgence of art teaching in Scottish schools by the new art masters, undoubtedly because they painted actively while teaching full-time. Passionate about art education, he was instrumental in influencing many students to pursue a career in the creative industry. A former pupil aptly described his classroom as a "guided exploration rather than a formal lesson". His love of the Scottish countryside is mirrored in his work and undoubtedly stemmed from the bank of images he built when, as a youngster, he travelled with his parents around the country. Argyll and the Western Isles were his favourite destinations, where he was fascinated by the crofts and farms sprouting from the land. Small houses typified his landscapes and still-lifes included abstracted landscapes; flowers, particularly poppies, fruit and fish feature in his later output. In 1996, he was awarded the Alexander Graham Munro Prize at the RSW exhibition in Edinburgh. His work featured regularly in one-man and combined shows and at his last one-man show in London in 2003, demand for his paintings remained high, as it has done ever since. In the last couple of years auction prices, in Glasgow and elsewhere, have shown a significant surge, reflecting the increasing collector interest in Gordon Wyllie's work.
Lot 136
* GORDON HOPE WYLLIE RSW (SCOTTISH 1930 - 2005), RUINED CHURCH mixed media on board, signed and dated '77mounted, framed and under glassimage size 24cm x 40cm, overall size 48cm x 63cm Handwritten artist's label versoNote: Gordon Wyllie was born in Greenock and in 1949 was accepted to study at the Glasgow School of Art. Under the tutelage of such luminaries as Edward Odling and Mary and Willie Armour, Gordon distinguished himself, graduating in 1953 after an eminent final year. He was awarded the post-diploma, or Masters course, won the Scottish Academy Award and also the Newbery Medal, the school's most prestigious prize. This was all the more remarkable considering that Gordon had, in his diploma year, returned home to care for his father, whose seriously deteriorating health ended in death two months before the degree show, and Gordon himself had suffered a bout of pneumonia. With a scholarship award, he studied that summer at Hospitalfield, Arbroath, as a post-graduate under Ian Fleming. Fleming inspired Gordon and encouraged him in abstraction, with which he occupied himself for the next few years. Meanwhile, he trained at Jordanhill College of Education in Glasgow to become a teacher, in the vanguard of the resurgence of art teaching in Scottish schools by the new art masters, undoubtedly because they painted actively while teaching full-time. Passionate about art education, he was instrumental in influencing many students to pursue a career in the creative industry. A former pupil aptly described his classroom as a "guided exploration rather than a formal lesson". His love of the Scottish countryside is mirrored in his work and undoubtedly stemmed from the bank of images he built when, as a youngster, he traveled with his parents around the country. Argyll and the Western Isles were his favourite destinations, where he was fascinated by the crofts and farms sprouting from the land. Small houses typified his landscapes and still-lifes included abstracted landscapes; flowers, particularly poppies, fruit and fish feature in his later output. In 1996, he was awarded the Alexander Graham Munro prize at the RSW exhibition in Edinburgh. His work featured regularly in one-man and combined shows and at his last one-man show in London in 2003, demand for his paintings remained high, as it has done ever since.
Lot 164
* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), SCUDDING WAVE mixed media on paper, signed, titled label versomounted, framed and under glassimage size 50cm x 62cm, overall size 71cm x 82cm Label verso: The Glasgow Art ClubNote: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The late Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.
Lot 236
* GILLIAN GOODHEIR DA (SCOTTISH 1945 - 2022) SNOWDROPS AT THE EDGE OF THE WOOD gouache on paper, signed and dated '01mounted, framed and under glassimage size 31cm x 31cm, overall size 66cm x 66cm Note: Gillian Goodheir was one of Scotland's best-loved artists and a regular exhibitor at good galleries around Scotland and the North of England. She was born in Glasgow and studied at Glasgow School of Art, specialising in Drawing and Painting. She graduated in 1967 then took a Post Diploma. She then taught art in Glasgow but in 1975 she and her husband moved to mid-Argyll where she lived and worked. Gillian Goodheir's paintings reflect her surroundings, the ever-changing weather and light in the west of Scotland but also the south of France where she spent a lot of time, when she could. As well as landscape she excelled in Still Life, combining flowers, textiles and decorative objects. Her preferred medium was gouache which she handled in a fluid spontaneous style, capturing light and colour. Her work is in collections throughout the U.K. (including six works in the Permanent Collection of the Palace of Westminster, London) as well as in the U.S.A., Canada, Hong-Kong, Holland, France and New Zealand.
Lot 20
Patrick Hennessy RHA (1915 - 1980) Rebuilding of Monte Cassino (1951) Oil on canvas 64 x 76cm (25¼ x 30”) SignedProvenance: Collection of Pamela and George Fegan, purchased directly from the artist, thence by descent to the present owners.Exhibited: Dublin, Royal Hibernian Academy, 1952, cat.no. 126 as ‘Rebuilding Cassino’; Dublin, Irish Museum of Modern Art, Patrick Hennessy: De Profundis, March/July 2016Literature: Patrick Hennessy: De Profundis, IMMA 2016, illustrated p. 43.Monte Cassino is a rocky hill about 130 kilometres southeast of Rome, and at an elevation of 520 m it commands a panoramic view of the surrounding hills and valleys. Site of the Roman town of Casinum, it is known for its abbey, the first house of the Benedictine Order, having been established around 529AD.After centuries of sackings by invaders, abandonment and rebuilding, the 11th and 12th centuries were the abbey's golden age, but this sadly was short-lived. In 1799, Monte Cassino was sacked again by French troops during the French Revolutionary Wars and was then dissolved by the Italian government in 1866, the building becoming a national monument with the monks as custodians of its treasures.During the later stages of World War II, it was the site of the Battle of Monte Cassino. On 15 February 1944 the abbey was nearly destroyed in a series of heavy, American-led air raids. The abbey was considered a key observation post and it was thought by the allies that it was occupied by the Germans. However, during the bombing no German troops were present in the abbey. Following the bombing the ruins of the monastery were occupied by the German 1st Parachute Division, due to the ruins providing excellent defensive cover. The Abbey was rebuilt after the war with the President of the Italian Republic Luigi Einaudi committing considerable resources to the rebuilding.By the early 1950’s Patrick Hennessy was enjoying considerable success and saw his painting De Profundis selected to tour North America as part of an exhibition of Contemporary Irish Painting. A retrospective exhibition of his work from the period 1941-51 mounted by the Dublin Painters further confirmed his growing reputation and by this time he was in a position to travel extensively in Europe.Paintings by Hennessy exhibited at the RHA annual exhibitions in 1952 and ‘53, including the Rebuilding of Monte Cassino suggest that he was travelling around Italy with titles referencing (Monte) Cassino, Rome and Venice. The present work which dates to 1951 depicts a view of the abbey under a dappled blue sky, shrouded in scaffolding and displays the artist’s passion for stone, with partially destroyed masonry and brickwork in the foreground reminding the viewer of the impact of the allied bombing raid from only seven years earlier.
Lot 444
Pair of Heinz Brummel modernist silver earrings with posts mounted on a D-shaped panel with circular bezel set onyx and three pendants, one with malachite and one with carnelian. Each signed "Heinz" on the back. With butterfly backs.(Each) length: 47.17 mm x width: 19.12 mm; post length: 9.95 mm. Gross weight: 18.4 grams.Condition:Some tarnishing and wear to the metal.
Lot 450
Pair of Heinz Brummel modernist silver earrings with heart shaped onyx, surmounted by an onyx bead, with a silver triangle in the middle and a feather and onyx bead suspended. On wire backs. Each signed "Heinz."Length: 66.53 mm x width: 24.62 mm; post length: 47.27 mm. Gross weight: 21 grams.Condition:Some tarnishing and wear to the metal.
Lot 451
Heinz Brummel modernist carnelian disc earrings bezel set in silver with posts and omega backs, each signed "Heinz." Fibula closure silver brooch with two black enamel half circles, suspending three coral points. Clasp decorated with red and blue enamel disk and lapis bead with spinning finial. Signed "Heinz 88" on the reverse.(Earrings) Diameter: 17.17 mm; post length: 10.39 mm. (Brooch) Length: 3 3/4 in x width: 2 in. Gross weight of lot: 33.1 grams.Condition:Some tarnishing and wear to the metal.
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