AFTER PHILIPPE MERCIER (1689-1760) AIR, EARTH, FIRE, AND WATER four engraved prints emblematic of the elements, engraved by Richard Houston, in period Hogarth frames; together with a PAIR OF FRENCH COLOURED ENGRAVINGS, engraved by Augustin Legrand, Les Reproches du Retard and Le Repos des Travaux , 18th century, in eglomise and gilt frames, 41cm x 31cm sight size (Dimensions: 35.5cm x 25.5cm sight size) (Qty: (6))(35.5cm x 25.5cm sight size)Condition report: all prints with a degree of yellowing and some light foxing in places; WATER with some water stains at the bottom and top edges, and some rippling under the glass; all glazing is in good order frames mostly intact with rubbing and wear to the edges, but corner joins are sound one of the French prints is loose in the frame, the other with some water stains along the top edge; both frames are flaking around the edges; eglomise is in good decorative order with some minor losses here and there
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Two similar 19th Century 'Protean view' type pen, ink and wash studies of Italian architectural scenes; a square with firework display (probably St Marks Square) and a cathedral interior (St Peter's Basilica, Rome). Hinged back panels to the frames that open to let in light and reveal chandeliers/lights in the cathedral and light up the fireworks in the square. 26 x 38cm approx, framed and glazed. (2) (B.P. 24% incl. VAT)
Box of railway ephemera to include; The Northern Echo railway supplements, Great Western Railway Development Works supplement 1933, Great Wesern Centenary 1835-1935 paperback book, Great Western Railway report on electrification Taunton-Penzance section 1939 hardback book, Order by the Light Railway Commissioners authorising construction of the light railway in the county of Cornwall between Penzance Newly, St. Just and Land's End 1899 etc. (B.P. 24% incl. VAT)
PATRICK GRAHAM (B.1943)Mayo Series, Approaching StormOil on canvas, 183 x 204cmSigned, inscribed and dated 2007Provenance: With Hillsboro Fine Art, label verso.From the Antoinette & Patrick J. Murphy Collection.Born Mullingar, County Westmeath in 1943, Patrick Graham’s childhood shaped his life and art. His father emigrated in search of work, his mother spent long periods in hospital suffering from TB, and, aged six, Graham was sent to ‘a small rural community, to my grandparents, my brother and sisters went other places, orphanages I think’. Displaced, without siblings, ‘I became a watcher . . . at six or seven years . . . I became aware that I was a stranger, I was silent; for my secret self I found secret places - a pool of spring water, a tree so tall and full of flickering light that lifted me high up into the unpeopled sky. . . . In my private world there existed an innocence of God and of beauty, a magical belief in nature, my holy trinity, so to speak, was God, nature and a secret self receptive to a vision not of the eye but of the sensual engorgement that saw from within.’ He tells of how ‘I would strip naked on the bog, fill myself with the sensuality of the black earth, then black light and the head-high colour’. This for Graham was ‘pure energy’ and ‘my truest most innocent experience of the transcendent body made one in God and nature’. But ‘bog, body, the eating and drinking of colour, the sensual earth and the sensual body and spirit’ of boyhood gave way to power and terror on entering the Christian Brothers. There he experienced ‘religious fear and religious guilt’ but school also offered hope. In 1957 he began to help his art teacher provide stage sets and backdrops for local amateur productions and it was this that formed Patrick Graham’s palette which Peter Murray lists as ‘ochres, umbers, Titian reds, purples, Naples yellow and blue-blacks’. A brilliant draughtsman and teenage prodigy, Patrick Graham won a scholarship to NCAD and was recognised as such by his tutors and fellow-students. But he himself felt that he ‘collapsed under the dogmatic demands of academic tyranny’. After college, he worked in advertising for a while, abandoned painting for years and in an Interview with John Daly of Hillsboro Fine Art said, ‘I left behind that part of my life that stretched from 1962 to 1983 and began again from nil’. In a 1978 solo exhibition Graham presented his NCAD Diploma from 1964 with Cancelled stamped across it accompanied by a self-portrait with gouged-out eyes. Today, Patrick Graham, is revered by Irish artists, is internationally acclaimed and has been the subject of numerous exhibitions [Los Angeles, Amsterdam, London] and symposia here and abroad. Elected to Aosdána in 1986, Graham was awarded the President’s Gold Medal, Oireachtas Exhibition 1987For years, Graham had a house and studio in Lacken, on the North Mayo coastline. Very interested in that landscape’s archaeological and historical past, especially sheela-na-gigs and famine graves, speaking of the broader landscape he told John Daly that he loved ‘to look into nothingness’ there. This magnificent painting, in which Patrick Graham’s intense, sensual, boyhood connection with landscape still holds, gives us a bird’s eye view of a rugged, dramatic coastline. In the foreground a solid cliff face is loosely, fluently rendered. Low down, a cave’s dark opening contrasts with a sunlit grassy stretch on the cliff top and the gleam of silver sandy beaches in the distance, along the coast, lures and delights the eye. We are on the edge of the North Atlantic and it’s captured here translucently. Signed lower right ‘Graham, Lacken 2007’ the words ‘Mayo 2007’ are also found top centre. The words, lower left, ‘Approaching storm North Mayo Coast’ indicates imminent change, nature in constant flux.Patrick Graham likes to show the work and disappear. ‘If it needs me around to give it life, then I’ve failed.’ To John Hutchinson [in an Irish Arts Review interview] he spoke of ‘absolute surrender in relation to my work’. That ‘a loss of self-will, combined with an awesome sense of - for want of better words - some sort of “God experience”, is what I’m trying to achieve.’ And that’s what he achieves and achieves gloriously here.Niall MacMonagle
Complete handle. Enamelled copper. Cm 11,50 x 25,00 x 9,00. Complete blue colored handle with abstract designs, 50s.The activity in this particular field of design dates back to 1946, when Paolo De Poli produced handles for the companies V.I.S and Yale & Towne of New York. A particularly large production that in 1958 will result in the exhibition at the Wildestein Gallery in New York for which, in the catalog, De Poli stated "The door must not only be a partition .. but also have its own decorative function"De Poli himself, describing his work with enamel and copper, states: "I am Italian and I was born in the Venezie, where in the past one of the greatest Renaissance color schools originated. I have a natural sense of color and personal knowledge. of painting makes me appreciate, in a special way, the beauty of tone and light.For this reason, fifty years ago, I saw in the enamel the material that could give a metallic object with simple and rational forms, beauty and splendor incomparable. A small and common metal bowl became precious if coated with the magical colors of the enamel. With enamel everything becomes beautiful and its smooth, vitrified surface increases the characteristics of practicality. I started with the linear bowls and then made vases , plates, trays, boxes, small paintings, large decorated walls, furniture with large decorated surfaces, fireplaces, handles of all kinds and unique pieces for collectors. collaborated with the most famous Italian architects always creating new applications, dazzling colors. I appreciate the enamel because no other material could give me such a wide range of colors, from deep and decisive tones to the most delicate transparencies. If then the metal is chiseled or wrought, the beauty of the colors is increased by transparencies, glosses, incomparable play of light. I have a lot of faith in enamel because I have found that in every application it gives significant practical and functional advantages. I like to glaze, because the fire knows how to transfuse magical colors and suggestive effects. I think that nail polish has always given me new possibilities of application, to embellish objects and make them more responsive to modern needs. "Taken from L ’Arte dello Smalto: Paolo De Poli, cat. anthological exhibition, Padua, 1984, p.30
Complete handle. Enamelled copper. Cm 8,00 x 17,00 x 7,00. Complete purple handle, 50s.The activity in this particular field of design dates back to 1946, when Paolo De Poli produced handles for the companies V.I.S and Yale & Towne of New York. A particularly large production that in 1958 will result in the exhibition at the Wildestein Gallery in New York for which, in the catalog, De Poli stated "The door must not only be a partition .. but also have its own decorative function"De Poli, describing his work with enamel and copper, states: "I am Italian and I was born in the Venezie, where in the past one of the greatest Renaissance color schools originated. I have a natural sense of color and personal knowledge. of painting makes me appreciate, in a special way, the beauty of tone and light.For this reason, fifty years ago, I saw in the enamel the material that could give a metallic object with simple and rational forms, beauty and splendor incomparable. A small and common metal bowl became precious if coated with the magical colors of the enamel. With enamel everything becomes beautiful and its smooth, vitrified surface increases the characteristics of practicality. I started with the linear bowls and then made vases , plates, trays, boxes, small paintings, large decorated walls, furniture with large decorated surfaces, fireplaces, handles of all kinds and unique pieces for collectors. collaborated with the most famous Italian architects always creating new applications, dazzling colors. I appreciate the enamel because no other material could give me such a wide range of colors, from deep and decisive tones to the most delicate transparencies. If then the metal is chiseled or wrought, the beauty of the colors is increased by transparencies, glosses, incomparable play of light. I have a lot of faith in enamel because I have found that in every application it gives significant practical and functional advantages. I like to glaze, because the fire knows how to transfuse magical colors and suggestive effects. I think that nail polish has always given me new possibilities of application, to embellish objects and make them more responsive to modern needs. "Taken from L ’Arte dello Smalto: Paolo De Poli, cat. anthological exhibition, Padua, 1984, p.30
Complete handle. Enamelled copper. Cm 13,50 x 20,00 x 8,50. Cerulean blue complete handle, 50s.The activity in this particular field of design dates back to 1946, when Paolo De Poli produced handles for the companies V.I.S and Yale & Towne of New York. A particularly large production that in 1958 will result in the exhibition at the Wildestein Gallery in New York for which, in the catalog, De Poli stated "The door must not only be a partition .. but also have its own decorative function"De Poli, describing his work with enamel and copper, states: "I am Italian and I was born in the Venezie, where in the past one of the greatest Renaissance color schools originated. I have a natural sense of color and personal knowledge. of painting makes me appreciate, in a special way, the beauty of tone and light.For this reason, fifty years ago, I saw in the enamel the material that could give a metallic object with simple and rational forms, beauty and splendor incomparable. A small and common metal bowl became precious if coated with the magical colors of the enamel. With enamel everything becomes beautiful and its smooth, vitrified surface increases the characteristics of practicality. I started with the linear bowls and then made vases , plates, trays, boxes, small paintings, large decorated walls, furniture with large decorated surfaces, fireplaces, handles of all kinds and unique pieces for collectors. collaborated with the most famous Italian architects always creating new applications, dazzling colors. I appreciate the enamel because no other material could give me such a wide range of colors, from deep and decisive tones to the most delicate transparencies. If then the metal is chiseled or wrought, the beauty of the colors is increased by transparencies, glosses, incomparable play of light. I have a lot of faith in enamel because I have found that in every application it gives significant practical and functional advantages. I like to glaze, because the fire knows how to transfuse magical colors and suggestive effects. I think that nail polish has always given me new possibilities of application, to embellish objects and make them more responsive to modern needs. "Taken from L ’Arte dello Smalto: Paolo De Poli, cat. anthological exhibition, Padua, 1984, p.30
Complete handle. Enamelled copper. Cm 11,50 x 25,00 x 9,00. Complete green handle , 50s.The activity in this particular field of design dates back to 1946, when Paolo De Poli produced handles for the companies V.I.S and Yale & Towne of New York. A particularly large production that in 1958 will result in the exhibition at the Wildestein Gallery in New York for which, in the catalog, De Poli stated "The door must not only be a partition .. but also have its own decorative function"De Poli, describing his work with enamel and copper, states: "I am Italian and I was born in the Venezie, where in the past one of the greatest Renaissance color schools originated. I have a natural sense of color and personal knowledge. of painting makes me appreciate, in a special way, the beauty of tone and light.For this reason, fifty years ago, I saw in the enamel the material that could give a metallic object with simple and rational forms, beauty and splendor incomparable. A small and common metal bowl became precious if coated with the magical colors of the enamel. With enamel everything becomes beautiful and its smooth, vitrified surface increases the characteristics of practicality. I started with the linear bowls and then made vases , plates, trays, boxes, small paintings, large decorated walls, furniture with large decorated surfaces, fireplaces, handles of all kinds and unique pieces for collectors. collaborated with the most famous Italian architects always creating new applications, dazzling colors. I appreciate the enamel because no other material could give me such a wide range of colors, from deep and decisive tones to the most delicate transparencies. If then the metal is chiseled or wrought, the beauty of the colors is increased by transparencies, glosses, incomparable play of light. I have a lot of faith in enamel because I have found that in every application it gives significant practical and functional advantages. I like to glaze, because the fire knows how to transfuse magical colors and suggestive effects. I think that nail polish has always given me new possibilities of application, to embellish objects and make them more responsive to modern needs. "Taken from L ’Arte dello Smalto: Paolo De Poli, cat. anthological exhibition, Padua, 1984, p.30
Complete handle. Enamelled copper. Cm 11,50 x 29,00 x 10,00. Complete red handle, 50s.The activity in this particular field of design dates back to 1946, when Paolo De Poli produced handles for the companies V.I.S and Yale & Towne of New York. A particularly large production that in 1958 will result in the exhibition at the Wildestein Gallery in New York for which, in the catalog, De Poli stated "The door must not only be a partition .. but also have its own decorative function"De Poli, describing his work with enamel and copper, states: "I am Italian and I was born in the Venezie, where in the past one of the greatest Renaissance color schools originated. I have a natural sense of color and personal knowledge. of painting makes me appreciate, in a special way, the beauty of tone and light.For this reason, fifty years ago, I saw in the enamel the material that could give a metallic object with simple and rational forms, beauty and splendor incomparable. A small and common metal bowl became precious if coated with the magical colors of the enamel. With enamel everything becomes beautiful and its smooth, vitrified surface increases the characteristics of practicality. I started with the linear bowls and then made vases , plates, trays, boxes, small paintings, large decorated walls, furniture with large decorated surfaces, fireplaces, handles of all kinds and unique pieces for collectors. collaborated with the most famous Italian architects always creating new applications, dazzling colors. I appreciate the enamel because no other material could give me such a wide range of colors, from deep and decisive tones to the most delicate transparencies. If then the metal is chiseled or wrought, the beauty of the colors is increased by transparencies, glosses, incomparable play of light. I have a lot of faith in enamel because I have found that in every application it gives significant practical and functional advantages. I like to glaze, because the fire knows how to transfuse magical colors and suggestive effects. I think that nail polish has always given me new possibilities of application, to embellish objects and make them more responsive to modern needs. "Taken from L ’Arte dello Smalto: Paolo De Poli, cat. anthological exhibition, Padua, 1984, p.30
Four chairs. Metal and fabric. Cm 70,00 x 67,00 x 63,00. Four armchairs in metal and original fabric, Series 142, produced for Tecno, 1966.Publications: Tecno EXE Light Catalog, https://www.tecnospa.com/ContentsFiles/Light_Executive.pdfTecno Catalog, LIFE, pag.8-9 https://www.tecnospa.com/ContentsFiles/Life_Catalogue.pdf
A wakizashiThe 45.8cm blade signed Bishu Mihara ju Masanobu, iron fuchi-kashira with some light gold and silver nunome decoration, gilt menuki in the form of wolves, iron tsuba with some silver decoration, in its black ishime lacquered saya with iron kojiri decorated with arrow heads in silver, shirimono kodzuka decorated with leaves and a bird.
A Spode pearlware part dessert service painted cornflowers, fourteen pieces and sundry decorative china CONDITION REPORT: Centrepiece looks a little tired, crazing and rubbing to glaze. Enamels on rim very flaked. Footrim chips, two lozenge dishes with glaze crazing and crazing and enamel flaking, one has two hairline cracks. Two quatre -lobed dishes with some scattered blue rim flakes and to green central enamels. Two square dishes with glaze and enamel in pretty good condition, one has a couple of small footrim chips, the other with a short hairline crack to footrim. Tureen has a couple of nicks to the flange, some flaking to enamels, light crazing. Five plates all with flat rim chips, enamels flaking, one plate stained. Fenton pottery octagonal jug has been broken and repaired. Lustre teapot is chipped to finial and flange, cracked through base. Moulded English tea set, two cracked tea and coffee cups.
David J Curtis (British, born 1948)/Winter Light, Stone Mill/signed and dated '90/oil on board, 25.5cm x 31cm /Provenance: Purchased from Richard Hagen Gallery, 1991 CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
Maurice Greiffenhagen (British 1862-1931)/Portrait of Miss Sybil Waller/half length, in a brown dress/signed/oil on canvas, 76.25cm x 61cm CONDITION REPORT: This portrait is in good condition, the surface paint is a little thin in places and there are some very small areas where the surface has very small star shaped cracks.In a good plaster gilt frame with some chipping; this picture has been seen under UV light and there appears to be no over painting or restorations.
Circle of Ignace Van der Becken (1689-1774)/After the Hunt/oil on canvas, 57cm x 73.5cm CONDITION REPORT: Losses to frame, slip missing to upper edge. This painting was relined a long time ago. There are some small areas of overpaint visible under UV light including to top right corner and a surface tear is visible to the lower right of the painting. The painting needs a small amount of restoration but is generally in fair condition, the frame needs repair.
A silver sugar caster, London 1896, of baluster form, 18.5cm high, another caster, three mustard pots and various pepper pots, approximately 550gm CONDITION REPORT: Larger caster has a few dents and light wear. Smaller caster slight bend to foot. Oval mustard has no liner, worn. Circular mustard has no liner, dents to ball feet. Oblong mustard has an associated clear liner, holes to silver border where polished through. Some minor dents and wear to pepper pots.
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