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534325 Los(e)/Seite
Los 28
Aloysius O'Kelly RHA (1853-1936)'Mass in a Connemara Cabin'Monochrome watercolour and bodycolour, 19.5 x 27.5cm (7¾ x 10¾")Signed and inscribed verso; also inscribed: "The Duchess of Connaught presenting new colours to the 4th Oxfordshire Light Infantry at Alalish (?) on Friday."Provenance: Christie's London, lot 181, 15 Dec. 1994, where purchased by the present owner.Exhibited: Dublin, Hugh Lane Municipal Gallery of Modern Art, 1999-2000, No. 1Literature: Niamh O'Sullivan, Re-orientations. Aloysius O'Kelly: Painting, Politics and Popular Culture, Dublin, 1999.The full scale version of this painting is currently on loan to the National Gallery of Ireland from the people of St Patrick's, Edinburgh and the Trustees of the Archdiocese of St Andrew's and Edinburgh
Los 84
Rowan Gillespie (b. 1953)Peace II (1998)Bronze 78cm (30¾")Signed, inscribed and dated on the base No. 9/9Provenance: With The Solomon Gallery, Dublin, where purchased by the present owners.Literature: Roger Kohn, Rowan Gillespie Looking for Orion, O'Brien Press, 2007, illus. p. 97Female figures are quite prominent in Gillespie’s work, with his depiction of the body often acting as a celebration of female liberty and the vitality of life. They are not treated in the same way as a classical sculpture in which the female form was often depicted as an object of beauty. Instead Gillespie strives to create thoughtful expressions of the free-spirited and independent nature of modern women.Freedom is a constant thread in Gillespie’s work, something his sculptures seem to always be striving towards, whether they are scaling the side of a building, Aspiration (1995) or perched on a window ledge, Birdy (1997). His figures seem to affect an act of defiance in the face of gravity. While Gillespie’s sculptures are often struggling under the weight, literal and metaphorical, of the base, elemental forces of life there is also a lightness, a joy found within his depictions of the human form.There is a visual link between the outstretched arms in Peace II and the Blackrock Dolmen (1987), although on this occasion the figures are not supporting the heavy weight of the stone. Instead with their arms outstretched, reaching upwards towards an imaginary light, one is reminded of his respective large-scale public commissions in Italy and Dublin, Leta della donna (2009) and The Age of Freedom (1992). On both occasions the figures stand, similar to the present work, naked, offering some form of thanksgiving to the sun. The two figures in Peace II, seem to grow upwards from the same source, their bodies intertwined with one another. It is an expression of gratitude, a gesture of sublimation and hope.While he is known for his emotionally arresting Famine memorial, here there is a delicacy to the treatment of the material which seems to hark back to his earlier investigations into the human form. The finish of the bronze in this work is the antithesis of the cracking, raw patinas of his Famine figures. However, once again he has created a visual as well as physical connection to the raised arms of his Jubilant Man (2007) sculpture in Irelands Park, Toronto, who upon safe arrival in Canada is utterly overcome with emotion.Niamh Corcoran, May 2023
Los 56
John Shinnors (b. 1950)Morning InteriorOil on board, 82 x 85cm (32 x 33½ ")SignedIn this outstanding painting, it is early morning, apparently, as dawn light blooms with a flush of pink over what could well be the profile of King John’s Castle. On the right, a white-garbed female figure looks calmly out on the awakening day. The red and white on the chequered bedspread to the left picks up the light, though the source of the light on the figure’s nightdress, or perhaps sheet, is not at all obvious. The warming glow might well come from within.John Shinnors likes to pose questions for viewers, and often the first question is to make them wonder just what they are looking at. He is adept at taking staple elements of his pictorial vocabulary and presenting them in a way that recasts them as arrangements of abstract pattern. To some extent he does that here, but it as if he is feeling mellow, and the mood infuses the picture and extends to his being easy on the viewer. The various elements, including figure, bed, wall, curtain, window, the sleepy sprawl of the intervening cityscape and the distant, castle-like profile, are readily apparent and adroitly managed in a very clever composition.Its energy radiates from a vertical division just off the centre, as the line of the base of the bed picks up and adds spin to the the line of the window’s glazing bar above, opening out the space and encouraging us to accommodate the elements to either side, the room’s interior. Generally in his work the artist favours innumerable shades of black, white and grey. They are in evidence here, as is his penchant for lively injections of red. He also uses muted blues to tremendous effect, plus characteristic tinges of ochre, and of course the generous colouring of that beautiful, radiant glimpse of sky. Colour temperature play a vital role.Limerick’s best-known artist, Shinnors was born in 1950, studied at LSAD under the guidance of the remarkable Jack Donovan, and spent time travelling in England as a musician before returning home to commit himself to life as a painter. Early magic-realism gave way to his mature style which is, in its way, equally magical. Widely sought after, his work is in all the major collections.Aiden Dunne, April 2023
Los 54
Jack Butler Yeats RHA (1871-1957)Near the Docks (1945)Oil on panel, 23 x 35.5cm (9 x 14")SignedProvenance: Mrs F. Davenport, Surrey; With Waddington Galleries, London; Private Collection, DublinExhibited: Limerick, Goodwin Galleries, Sept. 1945Literature: Hilary Pyle, Jack B. Yeats: A Catalogue Raisonné of The Oil Paintings, Andre Deutsch, London 1992, Cat No. 687This late work depicts two figures at a quayside with tall buildings and boats and water behind them. The man in the peaked cap is reminiscent of the figure of the Pilot who appears in many of Yeats’s paintings including the Pilot Sligo River (1927, Private Collection), A Misty Morning, (1943, Private Collection) and the early watercolour The River Pilot, (1900, Model Sligo). The figure in this painting appears younger and less stern than the Pilot, but his cap, necktie and dark blue jacket are all hallmarks of the famous figure. The old man who rushes past the sailor, recalls the figure of the artist himself, who is usually dressed in this formal fashion with hat and long coat. His stooped pose contrasts with the self-assurance and upright stance of the sailor. It is as if a chance encounter had sparked off a memory of Yeats’s youth and the heroic figure of the river pilot who featured so large in his childhood. As a boy, Yeats often travelled on the pilot boat up and down the Garavogue river, where his grandfather William Pollexfen was a merchant in Sligo town. The young boy lived with his grandparents in Charlemont House, overlooking Sligo harbour.Near the Docks is one of several oils painted in 1945 that recall the ships and sailors of Sligo. Yeats was clearly remembering and thinking about this period in his life at the time. It is likely, given his focus on Sligo, that this work depicts the docks in the Western town. For another painting From the Old Pilot House, (1945, Private Collection) Yeats perused a sketchbook of 1902 in which he had drawn the Pilot house at Rosses Point.¹ He includes in the painting, an image of the Pilot gazing out to sea. The Pilot was crucial to the safe journey of merchant ships from the Atlantic to the docks in Sligo and his skill impressed the young Yeats who used him as a symbol of ingenuity and resolve throughout his subsequent career. The right-hand side of the composition is closed off by the imposing block of a quayside warehouse while the lower and more varied buildings on the left allow daylight to dominate. The flowing water of the riverside is conveyed by the striated surface of the panel which Yeats uses to create rhythmic lines throughout the work. The proximity of water and architecture gives an almost Venetian quality to the left-hand side of the painting. Such liminal spaces between land and water were a rich source of inspiration to Yeats who relished their ambiguity and the direct interaction between solid and liquid form that they encapsulated. The strong light of day almost dissolves the buildings and their solid forms are conveyed largely through reflected light on the surfaces of their walls such as the deep blues and yellows of the warehouse or the rich orange and yellow of the smaller building to the left. The two figures are sculpted out of thick pigment. The downcast head of the old man conveys his thoughtful expression despite the apparent anarchic arrangement of paint strokes. The face of the sailor is an astonishing passage of painting, with the fall of strong daylight from the left transforming the ear and chin into streaks of bright yellow. The left eye socket is in shadow and is molded out of purple paint. The application of pigment throughout the composition creates a sense of rapid movement and changing atmospheric effects. The chance encounter or memory that inspired Near the Docks is solidified by Yeats, in all its psychological and sensual intensity, through his remarkable handling of paint. Róisín Kennedy, April 2023
Los 19
John F. Kavanagh (1853 - 1898)Woman on a River BankOil on canvas, 47 x 60cm (18½ x 23½")Signed and inscribed 'Paris 1888'Kavanagh depicts a woman standing upon a riverbank or beside a lake. She is viewed from the side, hand on hip, standing in statuesque pose, seeming to look into the distance. The woman pauses from her work washing clothes, for items of washing rest upon a stool upon the ground. She wears a white scarf, violet blouse and long blue dress. She is viewed partially in shadow, but sunlight falls upon the rear of her scarf and back, and there is a warm, reflected, rosy light on her face and fingers.Behind her is the figure of a small elderly woman, also in shadow, perhaps carrying a load of wood upon her back. She stands upon a sunny, grassy bank, and there is a rowing boat moored nearby. Kavanagh’s use of granular pigment in the foreground gives texture to the picture, while, in contrast to the careful delineation of the human figures the vibrant, singing green of the riverbank and the hazy background, pleasingly evoke a hot, summer’s day at evening.Dr. Julian Campbell
Los 147
Classic cocktail ring adorned with a large light pink pearl enveloped in two sweeping gold shoulders. Size 6.75.Round peg setting. 14K stamped to ring interior. Total weight: 4.5g. Weights and sizes are approximate. Condition: Age related wear.High Res Image 1High Res Image 2High Res Image 3High Res Image 4
Los 3002
Crafted from 18K white gold, this ring boasts a beautiful cluster of diamonds totaling 0.85ct FG Vs/Si, which will catch the light with every turn of your hand. The round diamonds, totaling 0.52ct, add an air of classic elegance, while the pear diamonds, totaling 0.33ct, lend a touch of modern sophistication. With a ring size of N, this piece is the perfect fit for any discerning fashionista who wants to make a statement with their accessories. Whether you're looking for the perfect engagement ring, anniversary gift, or simply want to treat yourself to something special, this diamond cluster ring is sure to turn heads and earn you compliments wherever you go. So why wait? Place your bid now and make this exquisite diamond ring yours today! (Ring size: M)(NO VAT - Margin Scheme)
Los 203
Bachmann OO gauge model railway locomotives, five including ref 31-602 BR 2-6-2T class V1/3 no.67664; ref. 31-106A BR 4-6-0 standard class 4MT no.75003; ref. 31-552 BR 2-6-2 class V2 'Durham Light Infantry' no.60964; ref. 31-702A BR 4-6-0 Thompson class B1 no.61190; ref. 31-104 BR 4-6-0 standard class 4 no.75069, all boxed.Qty: 5
Los 100
HERMES Paris, made in France, 2021. Vélo porteur compact Odyssée Terre 'Ash Wood', électriqueFabricant: Till BreitfussVélo électrique en frêne, aluminium et taurillon Spadlumière intégrée au guidon et à la tige de la selle, moteur et batterie intégrés au moyeu arrière, 3 niveaux d'assistance : léger, moyen, turbo, médaillon frontal émaillé du logo de la collection, paniers à l'avant et à l'arrière.Homologation uniquement pour l'Europe, assistance jusqu'à 25 km/h, puissance : 250W - 20 Nm, batterie de la marque Zehus : 160Wh avec une autonomie de 45 à 70 km.Récupération d'énergie par freinage.Moteur et batterie non démontables.Dimensions : L 154,6 x l 58 cm | Poids : 16 kgDans le détailLa selle change de hauteur pour s'adapter à toutes les tailles.Homologation Europe uniquement.Condition d'état: A+(l'état de la mécanique et de la batterie ne sont pas garantie)Footnotes:Electric bike in ash, aluminium and Spad taurillonlight integrated in the handlebars and seatpost, motor and battery integrated in the rear hub, 3 assistance levels: light, medium, turbo, front medallion enamelled with the logo of the collection, baskets at the front and rear.Approved only for Europe, assistance up to 25 km/h, power: 250W - 20 Nm, Zehus brand battery: 160Wh with a range of 45 to 70 km.Energy recovery through braking.Motor and battery not removable.Dimensions : L 154.6 x W 58 cm | Weight: 16 kgIn detailThe seat height changes to suit all sizes.European approval only.Condition grade: A+(the condition of the mechanics and the battery are not guaranteed)For further information on this lot please visit Bonhams.com
Los 415
Grateful Dead Concert Poster / Honolulu, A Rick Griffin designed poster for the concert at the HIC Exhibition Hall, Honolulu with It's A Beautiful Day - probably second printing from 1982 - thick paper with light gloss - measures 12 ¼" by 20" - unfolded, rolled - very slight creasing to corners, otherwise in Excellent condition
Los 368
Mott The Hoople Poster / Prog Rock Concert Tickets, an original Poster for Mott The Hoople Rock n Roll Circus Tour with seven early 1970s Rock / Prog concert tickets for the Guildhall Portsmouth stuck on the bottom of the poster comprising Procol Harum, Uriah Heep, Moody Blues, Mott The Hoople, Electric Light Orchestra, Wishbone Ash and Heads Hands & Feet together with a part ticket, possibly for Slade - poster measures 30" by 20" with small nicks and pinholes and has faded - Please be aware again that the tickets are stuck down on the poster
Los 48
Fairport Convention / Richard Thompson LPs, fifteen albums by Fairport Convention, Richard Thompson and Richard and Linda Thompson comprising Full House, Angel Delight, Babbacombe Lee (with Book), Nine, Rosie, The Bonny Bunch of Roses, I Want To See The Bright Lights Tonight, Hokey Pokey, Pour Down Like Silver, First Light, Shoot Out The Lights, Sunnyvista, Guitar-Vocal, Henry The Human Fly and Hand of Kindness - mainly all originals - various years and conditions
Los 261
Pentangle / Bert Jansch / John Renbourn LPs, nine albums comprising Bert Jansch - (Same, Sketches, A Rare Conundrum), Bert Jansch / John Renbourn - Bert and John, Bert Jansch / Rod Clements - Leather Launderette, John Renbourn (Sir John A Lot, Another Monday), Pentangle (Basket Of Light, In The Round) - Mainly all in Excellent to EX+ condition
Los 425
John Mayall's Blues Breakers Concert Poster, a poster for the University of Sussex Hat-Hop concert , March 13th 1965 featuring John Mayall's Blues Breakers, The Sixty Fifth, The Baskervilles and more - measures 22½" by 17½" - rolled with light creasing and pinholes to corners, otherwise in very good condition
Los 353
Blues Scene '69 Concert Programme / Jimi Hendrix Advert, a programme for this Blues tour with artists comprising John Lee Hooker, Aynsley Dunbar's Retaliation, Champion Jack Dupree, The Groundhogs and Jo Ann Kelly - 20 pages and with an advert in the inside back for Jimi Hendrix Experience at the Albert Hall - light creasing around the edges, otherwise in very good condition
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534325 Los(e)/Seite