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534325 Los(e)/Seite
Los 595
A BLUE GROUND CHINESE RUG, with circular round medallion and all-over floral pattern. With conforming spandrels and a Greek key border. 5ft8 (173cm) long x 6ft 3 (190cm) wide. TOGETHER with another larger Chinese carpet, with dark-blue and light ground, with all-over geometric pattern inside a triple border. 7ft8 (233cm) long x 6ft (182cm) wide. (2)
Los 643
A PAIR OF WATERFORD CRYSTAL VASES, of baluster form, 9" (23cm); a cut glass cylindrical vase 10" (26cm); a Waterford crystal candle light with shade, 7.5" (19cm) high; three Waterford crystal cream jugs; two honey jars and covers; a pair of baluster shaped pepper and salts; ashtray and other miscellaneous Waterford crystal. (23)
Los 186
THIRTY FIVE PIECES OF AYNSLEY 'GEORGIAN COBALT' TABLEWARE to include a lidded teapot, milk jug and sugar bowl, four coffee cans and saucers, five tea cups, four saucers, five 16 cms diameter side plates, five 20.75 cms diameter plates and five 26.5 cms diameter plates (all first quality, crazing to one large plate, light surface scratches to one or two other pieces only)
Los 14
William Percy French (1854-1920) BOG LANDSCAPE WITH TURF STACKS watercolour signed lower left 10.25 by 17.25in. (26 by 43.8cm) Presented in the original pokerwork frame with Celtic interlaced knot design. A number of French's watercolours were effectively framed by the Arts and Crafts workshop known first as the Belfast School of Poker-Work and then as the Irish Decorative Art Association, run by Eta Lowry and Mina Robinson and their team of women in Belfast. By 1900 specialising in Celtic interlaced pokerwork patterns, their frequently exhibited work showed their application of "the ancient Celtic ornament to all the articles of use and beauty which furnish the modern home". Larmour records that in 1904 almost all Percy French's paintings were exhibited with pokerwork frames decorated by the Association at its annual summer show in Portrush, Co. Antrim. (1) Some of these were intricately delineated on the timber frame with competently rhythmic, inventive knotwork, ably balanced on all four sides with modulating triple spirals to denote a change of design in the middle of each side. These small circular devices recall the triskel, one of the main emblems of Celtic triadic paganism, perhaps symbolising, appropriately, the three realms of land, sea and sky. They may be seen in somewhat fish-like forms, along with small interlaced crosses in the fine frame which French chose to set off the 1902 watercolour he painted to illustrate his immortal words, "Where Ever I go my heart turns back to the County Mayo" (sold by Whyte's in September 2005, lot 66) from the collection of Rupert Guinness, 2nd Earl of Iveagh.(2) Born at home in Cloonyquin House, near Tulsk in County Roscommon, Percy French was from early childhood introduced to the literary world through an extensive family library maintained by his father and through private home tutorage. Theirs was a close knit family and the children's literary aspirations were encouraged in the form of their own family magazine called The Tulsk Morning Howl in which Percy's contributions of poetry, stories and drawing dominated. After entering prep school in England in 1864 and subsequently the Foyle College Belfast, French entered Trinity College, Dublin, 1872 to commence, what was to take eight years to complete, a Degree in Civil Engineering. Unable to detach himself from his instinctive artistic nature, and an inherent disinterest in politics and 'men's matters', French's experiences at Trinity were recapitulated by the artist as follows: "…I think taking the banjo, lawn tennis and watercolour painting instead of chemistry, geology and the theory of strains must have retarded my progress a great deal. But I was eventually allowed to take out my C.E. They were obviously afraid that if I stayed at Trinity any longer I might apply for a pension…" Although ceaseless in his artistic pursuits, French persevered with engineering and in 1883 was appointed Chief Engineer by the Board Works, Cavan, a position he referred to as "Inspector of Drains". Several of his finest Irish landscapes were painted during this period spent in County Cavan. 1888-90 were very significant years for French: his Engineering post had come to an unexpected end and he was to return to the realm of the arts. Appointed editor of The Jarvey comic magazine French was introduced to one of its illustrators whom he quickly fell in love with and later married. His relationship with Ms Ettie Armitage Moore, also a gifted artist, had a profound impact on the artist who suffered greatly upon her untimely death just one year later. In terms of his artistic movements at this time French was listed as a 'working member' of the Dublin Sketching Club, and between 1891 and 1901 he exhibited twenty-four works at the Royal Hibernian Academy. In 1894 he married Helen May Sheldon, a school friend from Warkwickshire, and relocated to 35 Mespil Road, Dublin and later to London. These years saw the artist concentrate on his career as an entertainer, touring widely across Ireland and Britain with his performances garnering him immense success and recognition. In the early years of the 1900s French was exhibiting with the Watercolour Society of Ireland (1905) and the following year in London at the New Dudley Gallery, Piccadilly and the Modern Gallery, Bond Street. On the back of these highly celebrated shows he attracted the attention of the Royal Family who later became his loyal patrons. The Royal Library of Windsor displays a drawing of Queen Victoria's procession entering Phoenix Park. Having played sell-out shows across Ireland and Britain the career of Percy French as an entertainer reached its peak in 1910 when he toured Western Europe, Canada, U.S.A. and the West Indies. His paintings from this period were never brought back to Ireland but were sold while abroad or donated to charities. In contrast, his expeditions to Switzerland in 1913 produced numerous sketches of the Alps and surrounding countryside many of which returned to Ireland and were later exhibited. During 1914-1918 French supported the war effort through staged charity concerts and performances for the troops both in England and France. He continued these theatrical pursuits up until 1920 until his ailing health restricted his movements. Connemara at this point served as a place of convalescence both physical and emotional. Here the artist's poetic and painterly interpretations of life and landscapes fused: "Down by the Lough I shall wander once more, Where the wavelets lap lap round the stones on the shore; And the mountainy goats will be wagging their chins As they pull at the bracken among the twelve pins." The Islands of Aran, Sweet Lavender... In the Studio - "Once more I paint from memory The hills of Donegal, And as they raise - ma Gramachree! In fancy I recall...." ....And when I paint the sparkling tide That flows by Slievenaree, I would the boat again might glide Across the summer sea" Although he died at the premature age of sixty-six, his work as both an artist and popular entertainer are commemorated variously. The Percy French Society, formed in the 1980s, houses a collection of some eighty watercolours by French on permanent display in the North Down Heritage Centre. His Roscommon home, which he called, "a haunt of ancient peace" (3) , commemorates the artist with a monument where the house once was. Footnotes: 1 Paul Larmour, 'The Irish Decorative Art Association', The Arts and Crafts Movement in Ireland (Belfast 1992). 2 Extract from a note by the late Nicola Gordon Bowe for Whyte's 28 September 2009 lot 71. 3 Nulty, Oliver, Lead Kindly Light, 35 Years of Percy French at the Oriel Gallery - A Millennium Retrospective, The Oriel Gallery, Dublin, 2002, p. 45.
Los 27
Paul Henry RHA (1876-1958) KILLARY BAY oil on canvas signed lower left; titled in pencil on stretcher on reverse 14 by 16in. (35.6 by 40.6cm) Acquired directly from the artist by the present owner's grandfather Henry painted a number of sailing boats like this, but in later years. This is the earliest noted as the dot in the signature illustrates. It would have been done shortly after he settled on Achill between 1910 and 1915 or thereabouts. The overall treatment of the scene is typical of Henry: from the handling of the clouds; the gentle light catching the mountains; the near foreground and especially the light striking the water are all typical Henry. Acquired by descent from the present owner's father, an amateur artist who painted with Paul Henry in the West of Ireland. Dr S.B. Kennedy April 2018
Los 33
JESUS CARRIES HIS CROSS and JESUS FALLS FOR THE FIRST TIME, 1927 pencil and watercolour; (2)14 x 8 in. Literature:Nicola Gordon Bowe, Harry Clarke, The Life of Work, History Press Ireland, Dublin, 2012, pp. 266-267 (Jesus Falls for the First Time, illustrated) Two full scale designs for the second and third Stations of the Cross inset panels in pencil and watercolour dating to 1927 for the Basilica at St. Patrick's Purgatory, Lough Derg. This commission was the largest of Clarke's church commissions at this time, others included a three-light window for the Catholic church at Tullycross, Co. Galway, a two-light at Killaloe, a three-light ordered by Colthursts for Blarney, Co. Cork and three windows for St. Patrick's College, Thurles. The commission - for Professor William Scott's new basilica in Lough Derg - comprised a series of Stations conceived as small oval panels leaded into a scheme of fourteen windows depicting The Apostles, St. Paul and Jesus. Clarke sent pencil designs and three full-scale colour studies of the inset Stations of the Cross panels in these to his patron, Canon Keown in February 1927. Two years later, in June, The Lough Derg Windows were consecrated to great acclaim. Alice Curtayne (1898-1981) the author and lecturer referred to them thus in her text Lough Derg (Dublin 1944): In St Patrick's Basilica on Station Island, Lough Derg, the Station of the Cross are set up in a very distinctive manner… Each of these fourteen … holds up a Station, which is shown on an inset plaque of lighter glass, more delicately coloured, so that it stands out in bold relief from the window. In this way it is the Station chiefly which holds the attention, while the attendant Apostle seems to hover attentively in the background. For further reading see: Nicola Gordon Bowe, Harry Clarke, The Life of Work, History Press Ireland, Dublin, 2012, chapters 9 & 10, pp.253-277
Los 38
Jack Butler Yeats RHA (1871-1957) MORNING GLORY, 1945 oil on canvas signed lower right; titled on canvas verso; also with original typed label [It is the wish of Mr Jack B. Yeats that this painting shall be always kept under glass] and with James Bourlet label on reverse 14 by 18in. (35.6 by 45.7cm) Victor Waddington Galleries, Dublin; Where purchased by R.M.D. Thesiger. London, 1945; With a Mr William Macquitty, London; Christie's, London (Sale II), June 1982, lot 144; Private collection 'Loan Exhibition', Temple Newsam House, Leeds, 20 June to 4 August and Tate Gallery, London, 14 August to 15 September 1948, catalogue no. 60 (organised by the Arts Council of Great Britain. Afterwards at Aberdeen Art Gallery and Edinburgh Royal Scottish Academy) Hilary Pyle, Jack B. Yeats: A Catalogue Raisonné of the Oil Paintings, Andre Deutsch, London, 1992, Vol. II, page 646, catalogue no. 716 Morning Glory depicts two travellers on the cobbled street of a dark deserted town. One sits on a suitcase while his companion stands in the foreground. He is staring into the strong morning sunlight that penetrates through a side-street. A lobster pot hanging from the wall suggests that this opens onto the sea. The figure's face is transformed by the warm golden light of the dawn. With his hand drawn up to his chest, he looks as though he is experiencing a religious vision. His upright pose contrasts with that of his forlorn cohort who rests with bowed shoulders, his hands on his knees. His friend's hat and baggage lie abandoned in front of him, in the gloom of the empty thoroughfare. Compared to the monochrome face of the background figure, that of the man in the foreground, is made of a cacophony of pinks, whites, yellows and blues. His jacket, ostensibly dark green, is formed out of a myriad of coloured brushstrokes. While the streetscape is dominated by sombre dark blues and greys that suggest the lingering dimness of night, traces of yellow sunlight are evident on the cobbles and blank facades of the buildings. A sense of heat emanates from the right-hand foreground of the scene. The word "glory" in the title accentuates the spiritual aura of the light-filled man in the foreground. Glory, used in the titles of several of Yeats' late works, means thanksgiving or worship to God. Hilary Pyle suggests that this painting anticipates these visionary works of the 1950s. The arrival of the dawn is a momentous theme in them, a moment of revelation in which the natural world comes to life and brings renewed hope and sustenance to the nomadic inhabitants of Yeats' paintings. Like many of these works, Morning Glory has a strong dramatic quality with the intense light suggesting that of a spotlight in a theatre. It conveys the idea that the action is happening elsewhere, as if the two figures are waiting behind the scenes, ready to come on stage and perform. Dr. Róisín Kennedy April 2018
Los 83
Tony O'Malley HRHA (1913-2003) MORNING LIGHT, BAHAMAS, 1982 oil, gouache and sand on paper signed with initials lower left; titled lower centre; dated lower right 14 by 21.50in. (35.6 by 54.6cm) The present work was painted in 1982 - a significant year for the artist - when he was awarded the Douglas Hyde Gold Medal by the Arts Council of Ireland and was the subject of an RTÉ documentary titled Places Apart. The Bahamas formed an important part of his output at this time and was the subject of a number of major examples by O'Malley in his solo show at the Taylor Galleries in July that year.
Los 85
Tony O'Malley HRHA (1913-2003) STUDIO AND PAPMAN HEAD, 1979 gouache and pastel on card signed lower right; dated [11/79] right centre; titled lower left 20.25 by 30.50in. (51.4 by 77.5cm) Collection of George and Maura McClelland Tony O'Malley's work came to the attention of art lovers in Ireland comparatively late in the artist's life. He spent the 1960s painting in Cornwall, absorbing the prevailing aesthetic of abstraction to his own ends. He did exhibit, but much work remained unsold. His creative harvest from the 1970s was magnificent. Marriage to Jane Harris in 1973 led to winters in the Bahamas, where he began painting outdoors on canvas. Sales however remained sporadic. O'Malley's life changed when Northern artists, F. E. Mc William and William Scott, introduced him to Belfast dealer, gallerist and collector, George McClelland in 1979 or 80. In the few but effective years during which he promoted O'Malley's work, George himself acquired a number of fine works. Some were loaned to the Irish Museum of Modern Art and later donated. (1) Others stayed in the family until now . In Cottage, St Martins, 1972 (lot 66) a figurative work, O'Malley explores the possibilities of French modernism. In Jerpoint, 1977 (lot 68) O'Malley's palette is strong and dark and his shapes highly stylised. This dynamic works well as a response to the Abbey's carved figures eroded over time. The energy of the contours suggests the vital imaginative presence to the artist of these figures from the past. The McClelland collection included some experimental works by O'Malley. The tactile quality of the wool in the tapestries communicates a different but interesting atmosphere to the paintings. October and Black, 1983 (lot 60), woven by Terry Dunne in Wexford, is in fact a very blue work, the intensity of the royal blue recalling stained glass. It attests to O'Malley's abiding interest in the medieval. The superb Night Painter, 1981 (lot 57) is in the tradition of the tall, rectangular works on board in which the artist explores the interior/exterior. Strong, irregular shapes provide the framework for the textured treatment of the surface. Verdigris greens billow around the predominant slate grey rectangle which signifies night. Incised marks reflect the resistance of the board and allow the paint to achieve a variety of effects. Abstracted in form, a small white curtain is tentatively anchored by a red spot. Perhaps there is a suggestion of a tiny self-portrait in one of the richly patterned, rhythmic panels below. Travelling to the Bahamas by plane made canvas the easiest support to manage. A sense of lightness and loveliness characterises Morning Light II, Paradise Island, Bahamas, 1982 (the present lot, 53) a painting at once abstract and based in the real world. In this serene and luminous work, the artist risks using the softest of colours; baby blue and pinks and lemony yellows. He characteristically divides the painting with a central linear spine, creating an open book or butterfly on the wing format. Space on the left is more recessive and still than on the right, where brushstrokes on the blue suggest a flurry of bird life. A feeling of reverence and joy is expressed. Intimate and reflective, many of these works by O'Malley from the Mc Clelland collection are of museum quality. Vera Ryan August 2016 1 The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004 [ABSTRACTS]
Los 145
The Man Who Wouldn't Quit, Kerry Drake in the Case of the Sleeping City, Joe Palooka in It's All in the Family, Strong For the People, Steve Canyon's Secret Mission (late 40s-50s). All in bound volume, un-numbered Armed Forces Information and Education comics. Light tan pages with edge tears (5). No Reserve
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534325 Los(e)/Seite