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534325 Los(e)/Seite
Los 48
bullion embroidery badges include West Riding ... Staffords ... Tudor crown Loyal Suffolk Hussars ... QC Staffordshire Yeo ... QC Yorkshire ... QC North Irish Brigade ... Royal Welsh Fus ... KOSB ... QC Kent & County of London Yeo ... QC Parachute Reg ... Royal Scots ... QC Queens Royal Hussars ... QC Light Dragoons ... SAS. 30 items.
Los 49
bullion embroidery badges include Gloucestershire ... Royal Gloucestershire Hussars ... Home Counties ... Queens Own Yeomanry ... QC Royal Hampshire ... QC RE Royal Monmouthshire ... Queens Lancashire ... Green Howards ... Herefordshire ... Kings ... Light Infantry. Together with a small number of various bullion embroidery badges including QC Army Pilot wings ... Prince of Wales plume arm badge. 40 items.
Los 5
consisting KC silvered and gilt Highland Light Infantry (lug fixing) ... Small size Tudor crown silver hallmarked HLI (brooch fitting) ... Silvered and gilt Royal Scots by “W M Anderson & Sons Ltd” (lug fixing) ... Silvered and gilt Royal Scots Greys (lug fixing) ... Pair of silver hallmarked B’ham 1923-24 Royal Scots Greys collar badges (lug fixing) ... Silvered Royal Scots Greys collar (brooch fitting). 7 items.
Los 506
32 1/2 inch dumb bell blade with central fuller. Etched foliage and crowned GRV cypher. The forte with retailer “Army & Navy Cooperative Society 105 Victoria St London”. Polished steel guard with KC Light Infantry cartouche. Plain steel pommel and checkered backstrap. Shagreen covered grip. Contained in its leather field scabbard complete with sword frog.
Los 8
consisting silvered 40th Pathans (brooch fitting) ... Silvered 40th Pathans collar (lugs) ... Silver KC 13th F.F.R. (lugs) ... KC white metal 5th Light Infantry (lugs) ... White metal Assam Rifles (lugs) ... White metal Burma Rifles (lugs) ... KC cast brass GRI (lugs) ... Facing pair KC silver hallmarked B’ham 62nd Punjabis (lugs). 9 items.
Los 94
including QC Royal Scots Fus ... Wiltshire Reg ... Kings ... QC East Lancashire ... Queens ... Cheshire ... QC Queens Royal Surrey Reg ... QC Lancastrian Brigade ... Forester Brigade ... Gloucestershire ... Gloucestershire back badge ... Light Infantry Brigade ... North Stafford ... Royal Lincolnshire Reg ... QC 7th Batt West Yorkshire Reg ... Northumberland Fus ... QC Fusiliers Brigade ... QC Notts & Derby ... QC Leeds Rifles. 30 items.
Los 97
including 1st Queens Dragoon Guards ... QC Queens Royal Irish Hussars ... QC 9/12 Royal Lancers ... QC Light Dragoons ... QC Inns of Court Yeo ... 11th Hussars ... 17/21 Lancers ... QC Westmorland & Cumberland Yeo ... Ayrshire Yeo ... QC Essex Yeo ... Royal Hussars ... QC 16th Queens Lancers ... Cheshire Yeo. 30 items.
Los 539
A pair of 1940s low-heeled brown lace-up shoes with a CC41 Utility stamp; navy blue 1940s suede and leather court shoes, cream leather court shoes with a CC41 Utility stamp, brown lace-up uniform shoes, 1940s light burgundy fabric shoes with a low platform sole, pair of green rubber sandals and a pair of black lace-up shoes. UK size range approximately 3 to 6
Los 554
A 1930s/1940s fur clutch bag; an animal pelt stole, a pale coloured fur and white metal sporran, a rabbit skin hat with a racoon tail, a 1960s black sheepskin hat, a white fur hat, a pale fur collar, a long brown and white fur scarf, a light brown fur shawl and a quantity of hats and fur items (a lot)
Los 341
The Supremes / Acetate, one sided LP Acetate with five tracks from the 'Funny Girl' project: If A Girl Isn't Pretty / You're A Funny Girl (2 takes) / I Am Woman and Cornet Man. Labels stamped with 'Personal Copy For Mr Berry Gordy Jr'. Dated 7-9-68. light sticker residue, otherwise Excellent condition
Los 413
The Who, Limited edition Box set of Who's Better, Who's Best (LP, Cassette & CD), plus press release and plinth. Numbered 143 of 150 copies produced, and previously sold at Sotheby's from the collection of DJ Roger Scott (Sotheby's sale sticker on spine). Box has just a couple of light creases in the laminate. All contents in EX+ condition
Los 81
Robert Ballagh (b.1943)The Good LifeOil on board, 35.5 x 25.5 cm (14 x 10'')SignedProvenance: The Eamonn Mallie CollectionThis is a fun painting as the title suggests. This clever collage will resonate with many of you who are partial to a postprandial brandy while smoking your cigar.The painting promotes the notion of satisfaction and comfort - even if Ballagh’s title is a little 'tongue in cheek.' Obviously the wearer of those cufflinks didn't get them for standing in the light! Sláinte! Eamonn Mallie
Los 82
Robert Ballagh (b.1943)The Bombing of Belfast WWIIOil on canvas laid on board, 28 x 23cm (11 x 9'')Signed with initials; signed again, inscribed with title and dated (20)05 versoProvenance: The Eamonn Mallie CollectionIn executing this work ’The Bombing of Belfast WWII’, Robert Ballagh yet again was signalling his awareness that the island of Ireland does not stop at Dundalk. His depiction of this German air raid on Belfast resonates of Sir John Lavery's London painting 'Daylight Raid from my Studio Window.' (Ulster Museum). Not alone do we observe the imminent aerial assault but we see the on-the-ground effort at resistance by the people of Northern Ireland with limited means to repel the German bombers. There is not much light in this painting with the ghost of war everywhere - bombers in the air, heavy guns on the ground. Such is the military focus in the painting that one could forget that Belfast lost scores of lives during the Blitz in World War II. The Germans launched four attacks on strategic locations in the city in April and May 1941. On 15 April 1941 two hundred bombers of the Luftwaffe attacked military and manufacturing targets in Belfast. Nine hundred people died as a result of the bombing and fifteen hundred were injured. Significantly Dublin firemen and fire engines raced to Belfast to render assistance. Such was the impact of the air raids on Belfast that many families fled the city and out of this, grew many large villages and towns within twenty miles of Belfast - places which continue to thrive to this day.Eamonn Mallie
Los 11
Mary Swanzy HRHA (1882-1978)The StormOil on canvas, 63 x 76cm (24¾ x 30'')SignedProvenance: From the estate of P.J. Mara; originally in the collection of Pat and Antoinette Murphy and sold by them at their inaugural exhibition at the Peppercanister Gallery in October 1999. The artist told Pat Murphy that the two figures in the maze represented the artist and her sister. Exhibited: 'Analysing Cubism Exhibition', IMMA Feb/May 2013, The Crawford Gallery,Cork June/Sept 2013, The FE McWilliam Gallery, Banbridge, Sept/Nov 2013; ’Opening Exhibition of Irish Art’ The Peppercnnister Gallery October/November 1999 Cat. No. 1 where purchased. (Illustrated front cover of the catalogue). Literature: 'Analysing Cubism', The Crawford Gallery, Full page illustration p.96.Julian Campbell has linked the large constructions in The Storm including to that of Semur-en-Auxois, a town in Burgundy. This is, according to Campbell, the equivalent to Pablo Picasso’s Horta de Ebro, the Spanish mountain top town that inspired several of his key cubist landscape paintings. Semur is a medieval city built on an outcrop of pink granite and famous for its ramparts and towers. It is dominated by an imposing fortress, whose features can be detected in The Storm. The centre of the painting is made of a series of vortexes made of geometric configurations of light. These swirling forms swirl over the battlemented city flattening and fragmenting its solidity into facets of radiance and colour. These create a sense of speed and movement akin to the experimental style of the Italian Futurists, whose work Swanzy would have seen in Florence where she lived briefly before the World War One. The centre of the city struck by stylized rods of lightning which can be seen darting across the surrounding hills. This dramatic vision of a storm is presented as seen from above as though from an airplane or some celestial vantage point. Fascination with force and speed and the aeronautical perspective became fashionable amongst avant-garde artists in the 1910s and 1920s through the influence of futurism and Orphic Cubism, the colourful style associated with the work of Robert Delaunay and Sonya Terk. Their work was shown at the Salon des Independants in Paris before the war at a time when Swanzy also participated in the exhibitions. Many of Swanzy’s cubist inspired works of the late 1920s and 1930s reveal her keen understanding of this aesthetic which sought to transmit the energy and sensation of living and seeing in the modern age in images of flight and of the city. In this work Swanzy replaces the ubiquitous symbol of the Eiffel Tower, preferred by Delaunay, with the medieval town. A Storm also takes a slightly different perspective to that of Orphic Cubism in its inclusion of tiny figures. Two can be seen in the bottom centre of the composition, struggling to keep their balance on the rampart walkway. These signal the future direction of Swanzy’s work which be the 1940s was moving away from Cubism towards more imaginary themes. As early as 1934, roughly around the time this work was painted, a review of an exhibition of her work in London, described Swanzy as a ‘Surrealist working in a Cubist convention’. In The Storm the Surrealist aspect is most notable in the large arrow that lies embedded in the centre of the cylindrical forms of the city. This play on proportion and scale adds a dimension of mystery to the painting suggesting the destruction of the citadel and the terror of its citizens. Dr Róisín Kennedy
Los 116
Frederick E. McWilliam HRUA RA (1909-1992)Sitting Up Girl II (1970)Bronze, 25 x 22 x 15cm (10 x 8¾ x 6'')Signed with initials and numbered 1/5, Galizia FoundryProvenance: Acquired from the Ulster Museum exhibition, April- May 1981, by the present owners. Exhibited: Waddington Gallery, 1971; ‘FE McWilliam Retrospective’ Arts Council of Northern Ireland touring exhibition, Ulster Museum, April - May, 1981, cat. no. 88; Douglas Hyde Gallery, Dublin, May - June 1981; Crawford Municipal Gallery, Cork, July - August 1981; Gordon Gallery, Derry, 1984; Shambles Gallery, Hillsborough, Co. Down, 1988; New Art Centre.Literature; F.E.McWilliam, Arts Council of Northern Ireland Catalogue no. 95, illus. p. 68; ‘The Sculptor F.E.McWilliam’ Ferran & Holman, Lund Humphries, 2012, no. 356, illus. p. 151; New Art Centre, Roche Court, Salisbury, England.McWilliam regarded sculpture primarily as a means of personal expression and as Roland Penrose wrote in 1964 that “McWilliam is an inventor of styles. The variety we see in his work is a symptom of his restless enquiry into the substance of living things..” and added that “He has the capacity to relate our daily existence with existence which is fundamental and timeless. He has above all the understanding and instincts of a poet.”McWilliam, who evolved a new series every year, began his playful Girl Series in 1969, which ended in 1972 when he began his emotionally charged Women of Belfast in response to the bombing of the Abercorn Restaurant in Belfast. The Girl Series is McWilliam at his most playful and joyful, depicting each of his girls in various conversational or provocative poses. He loved the coquettishness and movement of women, as they reclined, kneeled or sat, as in Sitting-up Girl II, depicting women with the keen observation of an admirer who was a loving husband and father of two daughters. McWilliam brings movement into the Sitting-up Girl by using contrasting surfaces of polished bronze against textured, darkened bronze, using the planes of the outstretched resting leg against the strong upright form of the raised leg, upon which the girl’s right arm rests. She exudes an air of silent patience, waiting for the resumption of the conversation or the end of her modelling session. After one year at the Belfast Art School, McWilliam trained at the Slade School of Art in London where he met a fellow Slade student, Beth Crowthers, who became his wife in 1932. The Slade was renowned for its emphasis on accurate and fine drawing and McWilliam was enrolled as a fine art student in painting with sculpture as a secondary subject. The Slade training is evident in the fine drawn lines, etched in the face, the legs and the hands of the female sitter, especially in the fine delineation of the fingers of the left hand, defined against the sitter’s thigh. The simple depiction of the face has echoes of the women in Picasso’s etchings of the 1930’s, understandably so, as McWilliam went to Paris with Beth in 1931 to settle there and become a fulltime artist. He later recalled ‘When I lived in Ireland, I only wanted to get out of it to where the action in the visual arts was - Paris.’ McWilliam’s lifelong friend, the Irish landscape painter, the late T.P. Flanagan, believed that these defined figures of the Girl Series, best exemplified McWilliam’s drawing ability, his mastery of form, his creative use of the pose, highlighting the contrast of shadow and light; polished smooth surfaces against dark unpolished areas, emphasizing the three dimensional qualities of this perfectly posed and tranquilly balanced figure. Dr Denise FerranOctober 2017
Los 129
Brendan Jamison (b.1979)Doorway - No. 10 Downing StreetSugar cube sculpture, size of perspex box 51cm high x 25.5cm deep x 30cm wide (20 x 10 x 12'')Provenance: The Eamonn Mallie CollectionOf Brendan Jamison and his Downing Street sculpture: The BBC wrote the following: 'Northern Ireland artist Brendan Jamison has claimed a special niche in the UK corridors of power.'The craftsman is a cubist of a different kind - he is known for carving thousands of sugar lumps into intricate buildings.He has been chosen for an exhibition inside 10 Downing Street. Visiting presidents and prime ministers from across the world will be able to see the iconic black door they have just stepped through, carved in sugar. Jamison, used 5,117 sugar cubes and took two months to complete his Downing Street door.’ Commenting on his sugar creations, Jamison revealed in 2003 he pioneered a technique of carving sugar cubes into intricate shapes. These are glued together with a special adhesive. His two-fold method of carving blocks of sugar and creating a permanent building has caught the imagination across the world resulting in his being a guest of governments around the world capturing sugar images of many of their most celebrated buildings. It was 'Ten Downing Street' however which catapulted Jamison onto the world stage with TV channels and international newspapers becoming very excited about this revolutionary method of making sculptures. When I saw 'Ten Downing Street' in Jamison's studio I asked him to give me 'first option' on the work given that I had been through the famous door Number 10 and stood outside it several times in my professional capacity. Jamison was agreeable to prioritise me but history militated against me. Word reached Downing Street about the sugar sculptured door and the young artist was invited to include it in a mixed exhibition. Jamison faced a dilemma. Downing Street sought to purchase the work. The artist consulted me, acting honourably in light of his commitment to me to get first call on 'Number Ten'. I readily gave way and the sculpture had a new permanent home in the hallway in 10 Downing Street. Some time later Jamison called me to inform me he had completed a second version of 10 Downing Street going into the Royal Ulster Academy Exhibition. Once the doors opened I rushed into the Museum and managed to get a red sticker on the sculpture.It is in good company across the globe with sugar sculptures in existence now of The Great Wall of China, Tate Modern in London, Helen's Tower Clandeboye, commissions by Vogue in Milan and by The Centre Pompidou, in Paris.Eamonn Mallie
Los 211
Paddy McCann (b.1963)Girl's HeadOil on canvas, 27 x 21.5cm (10½ x 8½”)Provenance: Provenance: The Eamonn Mallie CollectionEmer Gallery label verso.The minute I spotted 'Girl's Head' I knew I had to have it. It reminded me of a beautiful continental sunset....emitting a light and a heat informed by colours and shapes. However abstract in structure, however geometric, there was something beguiling about the expression in the female's face - mystery and beauty - everything that was missing from so many of Picasso's female heads. I always link beauty, romance and love.This little head had and has it all for me. No one ever said it to me but I suspect the painting was inspired by Paddy's beautiful wife Sharon, also an artist, to whom the artist visited a wonderful abstract European treatment to win his goddess in paint. When asked is this is your wife Sharon McCann answered ever modest well - it's too pretty to be a self portrait. Eamonn Mallie
Los 35
William Scott OBE RA (1913-1989)Blue and White (1964)Oil on canvas, 44 x 44cm (17¼ x 17¼'')SignedProvenance: From the collection of the architect Michael Scott and his sale, Christies Dublin, May 1989, Lot No. 89. Exhibited: 'William Scott: Recent Paintings', The Hanover Gallery, London, September - October 1965, Catalogue No.6; 'William Scott', The Dawson Gallery, January - February 1967, Cat. No. 14, where purchased; ‘Modern Irish Painting’, Major European Touring Exhibition which started in Helsinki October 1969 and travelled to Goteborg, Norrkoping, Stockholm, Copenhagen, Bielefeld, Bonn, Saarbrücken, London, Leeds, Glasgow, Dublin, Donegal and Mayo. Literature: 'William Scott: Catalogue Raisonne of Oil Paintings', Catalogue No.570, illustrated.When the late Anne Crookshank, as a young curator of visual art at The Ulster Museum in Belfast in 1958, appealed to local pride and begged her fiscal overlords to agree to purchase a painting by William Scott - a local man, if not actually born in Ulster, at least raised and educated there, she played up the considerable fame he had just acquired as Britain’s highly acclaimed representative in the Venice Biennale of that year. However, despite his fame and the fact that one of his Venice paintings had immediately been purchased and donated to the Metropolitan Museum of Modern Art in New York, she still felt it necessary to ask her colleagues at the Arts Council in England to include it in a travelling exhibition they were organizing of his work, so that by the time her trustees had a chance to view their new acquisition, they would have adjusted to its modernity. Her strategy paid off. While the painting was touring, Scott was commissioned to paint the biggest mural painting in Ireland at Derry’s Altnagelvin Hospital, a great reassurance to her trustees. The purchase went on to raise the profile of contemporary art at the Ulster Museum to the level that under Anne Crookshank the collection there led the field in Ireland for buying good contemporary art.Blue and Whites was painted in 1964, just 6 years after the Ulster Museum’s purchase. In many respects, it can be seen as a continuation of the abstract formal language of the hospital mural but, perhaps more importantly, it connects Irish art directly to the greatest precursors of International Modernism. The irregular white rectangle that floats upon the square white ground pays a discreet homage to Malevich’s ground breaking ‘White on White’ in the early days of twentieth century modernism, while the luscious blue triangle thrusts itself outward towards the viewer, just as Franz Klein’s blue paintings had thrust themselves at Scott when he first encountered that artist’s work in New York a decade earlier. Anne Crookshank, who maintained her regard for him over the decades remarked that ‘He handles blue with the greatest skill and achieves superbly luminous passages.’ In this painting that is augmented by the textural impact of the paint itself, applied in thick downward strokes.The painting does exactly what Scott intended it to do; it presents a dialogue between the elements of painting itself, between the formal thrust of the blue triangle and the two levels of white ground from which it emerges, without recourse to any narrative or literary qualities. The drama of space, light, texture and colour are all manifested through the artist’s manipulation of them in a way that is coherent and self-contained, and utterly compelling. Scott was quoted as saying about his work that ‘what matters to me is the indefinable’. He achieves that in this painting through the elements of the medium itself, which in his use of them, offer more than the sum of their various parts. It is no surprise that the architect, Michael Scott, that guru of Modernism in Ireland was one of the owners of this work in its earlier life. Catherine MarshallOctober 2017
Los 49
Jack Butler Yeats RHA (1871-1957)By Merrion Strand (1929)Oil on canvas, 35.5 x 53cm (14 x 21'')SignedProvenance: From the collection of Richard McGonigal SC who purchased it at The Contemporary Picture Galleries, 1940; Later in the collection of Aer Lingus, purchased circa 1965 and their sale, Dublin, November 2001, where purchased by current owners.Exhibited: ‘Jack B. Yeats’, The Alpine Club Gallery, London, February 1929, Cat. No. 15; ‘Jack B. Yeats’, Engineers Hall, Dublin, October 1929, Cat. No. 13; ‘Jack B. Yeats’, Contemporary Picture Galleries, Dublin, October - November 1940, Cat. No. 6; ‘Jack B. Yeats National Loan Exhibition’, NCAD Dublin June - July 1945, Cat. No. 70; ‘Jack B. Yeats’, Waddington Galleries, London, February - March 1965, Cat. No. 7; ‘Irish Art 1900 - 1950”, ROSC Chorcaí, The Crawford Gallery, Cork, December 1975 - January 1976, Cat. No. 155; ‘Jack B. Yeats’, Hugh Lane Municipal Gallery, Dublin, June - October 1988, Cat. No. 60 (Label verso); ‘Art Inc Exhibition of Art from Corporate Collections’, Cothú Guinness Hop Store, Dublin, April - May 1991, Cat. No. 6.By Merrion Strand is a wonderfully freshly coloured work painted in the late 1920s in the period in which Jack Yeats was moving into his later more expressionist style of painting. It depicts a young woman standing at a stall with a view of Dublin bay behind her. The purple of the Wicklow mountains, possibly the Sugar Loaf, can be deciphered beyond her left shoulder. On her right another woman sits on a wooden deck-chair with a large bouquet of flowers in her arms. The two figures are women who have come to sell flowers and fruit to the pleasure seekers and holiday makers who flocked to beach at this time. The outline of several of these day trippers can be deciphered on the sand and in the waters behind. Some stride across the blue of the sea, a reference to the nature of the current at Merrion strand which is notable for its expanses of shallow waters at low tide. The subject of working class women recurs in many of Yeats’s paintings of the 1920s revealing both a sentimental and sympathetic interest in them. Among the most notable are Paper Bags for Hats (1925, Private Collection) and Flower Girl, Dublin (1926, National Gallery of Ireland). Like By Merrion Strand these bring some of the most impoverished and overlooked citizens of Dublin into focus. The composition of the woman silhouetted against the sea and sky is also very similar to that of By Drumcliffe, Long Ago, (1923, Private Collection), a work that is based on a memory of County Sligo. The pale blues and touches of white and yellow in the work produce the effect of sunlight on a bright summer’s day. The white of the central figure’s arms and neck compared to the darker tones of her face subtly suggest the demarcation of her tan line. This intimates that this is one of the first hot days of the year. As in Yeats’s other late work the loose application of paint evokes movement of light, air and the figures most notably in the stall holder herself whose head is turned to look back towards the viewer’s space. The painting was included in an important one-man exhibition of Yeats’s work in 1940, the first solo exhibition of his work at the Contemporary Picture Galleries in Dublin. It was bought at this show by Richard MacGonigal, a notable collector of his work. The exhibition encouraged the development of Yeats’s reputation as one of Ireland’s foremost modern artists leading to his adoption by Victor Waddington during the war years, in whose gallery Yeats’s status continued to flourish. Dr. Róisín Kennedy
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534325 Los(e)/Seite