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Los 169
A fine piano-form musical necessaire,French, circa 1840, Ser. No. 6026, Hooked-tooth single-section comb movement playing two airs probably by Alibert, plain polished brass bedplate under glass dustlid, lower interior bays lined in light blue paper, with handwritten score of the music this movement plays, necessaire tray with all-matching mother-of-pearl implements including large scissors, needle case, thimble, two sets of twin bobbins, picker and darning needle, cut glass scent bottle, all with yellow metal mounts, in purple velvet inset tray with matching large rectangular pincushion, silk tray cover, full looking-glass lid interior, in flamed mahogany veneered case with boxwood and ebony inlaid 4-octave keyboard, on finely turned ebonised supports, key spindle, start/stop and change/repeat to underside, (small scissors missing) – 12” long, the cylinder 2.1/2”. Condition: G II 2
Los 238
Signed Presentation Copies & With ALsMontague (John) A Chosen Light, 8vo L. 1967. First Edn., orange boards & d.w. & with design after Louis le Brocquy; also O'Riada's Farewell, 8vo Cork Golden Stone 1974, First Edn., illus. orig. pict. wrappers. Both volumes with Signed Presentation Inscriptions & with musical references for Charles & Carol Acton, together with a 2pp A.L.s. to Charles [Acton] dated Jan. '69. an interesting lot. (3)* Charles Acton was long time music critic with The Irish Times, & John Montague was for a time literary director of Claddagh Records.
Los 427
Yeats (W.B.). 'Countess Cathleen'. Programme for a drawing-room performance at the Chief Secretary's Lodge, Phoenix Park, Dublin, January 1899. 4 pp, single folded sheet, Dublin printed, with a note about the play, dramatis personae (with the Countess of Fingall as Countess Cathleen) and a list of tableaux. The first performance of scenes from the play, four months before the first full stage performance (see previous item). Cover a little browned, traces of mounting to rear, otherwise v. good."The Light of LightsLooks always on the motive, not the deed; The shadow of shadows on the deed alone."* Exceptionally Rare.
Los 49
Hayward (Richard) Munster and the City of Cork, 8vo L. (Phoenix House) 1964, First Edn., Signed by the Author & Illustrator (Raymond Piper), all cloth & d.j.,Raine (Kathleen) The Lost Country, 8vo L. (The Dolmen Press) 1992, Reprint, Signed by the Author; Murphy (R.) The Mirror Wall, 8vo U.K. 1989, Review copy; Johnston (J.) Truth or Fiction, 8vo L. 2009; O'Brien (Edna) The Light of Evening, 8vo L. 2006, as a lot, w.a.f. (5)
Los 573
The Author's First BookJoyce (James) Chamber Music. L., Elkin Mathews 1907, light green cloth gilt, a bright copy. First Edition of his First Book, First Issue (thick e.p., height 16.2 cms). Slocum & Cahoon 3, preceded only by The Holy Office (broadside) and the supposed broadside Et Tu Healy, of which no copy has ever been found. S&C, quoting Gorman, say 509 copies were published including all three issues; there may have been no more than 200 copies in the first issue. Newspaper cutting laid down on front pastedown, name (Vincent Clarke) on f.f.e.p., a little spotting on e.p.'s but, a very good clean square copy. Rare. (1)Published mainly by the exertions of Arthur Symons, who took the manuscript around to the London publishers until he found one willing to take a chance on an unknown author. Slocum & Cahoon A3,
Los 587
The Author's First Separate CollectionHeaney (Seamus). Eleven Poems. Festival Publications, Queen's University of Belfast [1965], wrappers with light purple nine-point star device on upper cover, FIRST ISSUE of his first separate collection, a key title for Irish poetry. A very little spotting on upper and lower cover, faint price-stamp on rear cover (6?), otherwise An Excellent Copy of this Great Rarity, which opened a new era in modern Irish literature. It features four or five poems which have become modern classics, including the title poem of his first commercial publication Death of a Naturalist [1966].There are at least three separate issues, but this is undoubtedly the first. A fragile item, rarely found in decent condition. (1)
![Flann's ArchiveO'Nolan (Brian) (pseudo. Flann O'Brien, Myles na Gopaleen) [1911-66]. An important archive of texts and docum](https://cdn.globalauctionplatform.com/a1235de0-ae2f-4b31-9734-a76000fab544/23a024f4-046f-401f-efed-7f9eb605cc8f/468x382.jpg)
Los 608
Flann's ArchiveO'Nolan (Brian) (pseudo. Flann O'Brien, Myles na Gopaleen) [1911-66]. An important archive of texts and documents relating to his life and work, in five large folders, as follows:-His birth certificate, 1911, Strabane, copy dated 24.7.1997; his marriage certificate to Evelyn McDonnell, 1948, copy dated 24.2.1997; his original death certificate dated 4.4.1966, giving his profession as 'writer' and the cause of death as metastatic carcinoma of pharynx.-A large collection of typescripts in a folder titled SECTION 10, mostly carbon copies, including The Detectional Fastidiosities of Sergeant Fottrell (apparently a proposal for a television series); The Handsome Carvers. A Tragedy in Two Acts by Myles na Gopaleen; The Dead Spit of Kelly. A Play in Four Parts. By Brian O'Nolan, 17 pp; another copy of same; an untitled playscript featuring a Keeper and a Visitor, 19 pp; 21 pp in Irish, numbered 109-139, probably a section of his celebrated novel An Béal Bocht; about 100 pp cyclostyled typescript in two sections, apparently a playscript or broadcasting script based on Cruiskeen Lawn and featuring Myles, one section with attribution to Fergus Linehan; and a photocopy of a production copy of The Insect Play by the Capek Brothers, translated and adapted by Myles na gCopaleen, 69 pages, 3 acts complete (in envelope).-Frank Hollings, literary agents, and their representatives A. Miller and (the Dublin born writer) Leslie Daiken, a folio numbered Two, containing correspondence with Brian O'Nolan about sale of his manuscripts, including five carbon copy letters from Brian, one (23 March 1965) describing how many of his ms. were stolen by a person who came to visit him while he was immobilised with a broken leg; also a letter dated 14 October 1965 when he was about to go into hospital, 'where I think the buggers there are going to cut the guts out of me', etc.; and about 15 letters from Miller and Daiken, many with interesting information about the American interest in Brian's manuscripts. A very interesting correspondence, which casts much light on Brian O'Nolan's affairs in his later years.-A folio numbered Three containing important correspondence between Brian O'Nolan's widow Evelyn and his literary agent A.M. Heath from 1967 (the year after Brian's death) to 1991, including publication agreements for The Third Policeman and other works, about 50 original letters to Evelyn O'Nolan from agents, researchers and others, and about 30 carbon copies of her letters, containing much information about his works and her circumstances.A highly important and Unique collection, which includes intriguing examples of Brian O'Nolan's later work, much of it unpublished and unperformed; and information about the sometimes distressing circumstances of his later years, after he was required to resign from the Civil Service, and so had to make his living as a writer.As a collection, w.a.f. (1)
Los 8
The Author's First BookAlgren (Nelson) Somebody in Boots, 8vo N.Y. (The Vanguard Press) 1935, First Edn., with a m/ss postcard signed with sketch of boat, signed by the author, loosely inserted, original light brown cloth, black lettering to spine, original decor. d.j., slight loss to 3 others of spine, otherwise. Fine Copy [Bruccoli A11]. (1)* The story relates to the life of Cass Mc Kay who endures a life of prison, homelessness, and soup kitchens during the height of America's depression of the 1930's, particulary in Chicago.
Los 811
The Author's First CollectionSigned Presentation to the Memory of Patrick KavanaghDurcan (Paul) O Westport in the Light of Asia Minor, 8vo D. (Dublin Magazine Press) 1975. First Edition, orig. pict. wrappers. Very fine. (1)* Paul Durcan won the Patrick Kavanagh Award in 1974. This copy inscribed, 'Maybe Mary might call round....and then I came to the haggard gate,And I knew as I entered that I had comethrough fields that were part of no earthly estate''To the memory of Patrickand to Katherine Barry Moloney Kavanagh, dear kindest friend,from Paul Durcan, 14 June 1975.'A truly unique Copy.
Los 832
Heaney (Seamus) The Haw Lantern, L. 1987 First Edn., Signed Pres. Copy, 2-III-95,; Electric Light, L. 2001 Uncorrected Proof Copy; Beowolf, roy 8vo N.Y. 2000 Bilingual Edition, cloth backed boards, d.w.; Finders Keepers, Selected Prose 1971 - 2001, roy 8vo N.Y. 2002. First American Edn, d.w.; District and Circle, L. 2006. First Edn., Signed Pres. Copy, Jan. 2007, orig. wrappers. (5)
Los 1036
After JEAN-HONORE FRAGONARD (1732-1806) FrenchPortrait of Anne Louis Brillon de JouyOil on canvasStamped Musee du Louvre CHetNo1 and dated 4 Nove 1930 to verso63.5 x 79.5 cm, framed CONDITION REPORTS: Generally in good condition, expected wear, could do with a light clean, minor losses to frame.
Los 1004
An early 20th century Impressionist oil, possibly by EBEN FARRINGTON COMYNS (1875-1949) AmericanFigures on the Beach of EtretatOil on canvasSigned with monogram75 x 50 cm, framed CONDITION REPORTS: Generally in good condition, expected wear, could do with a light clean, minor losses to frame.
Los 15
William John Leech RHA ROI (1881-1968) GREY BRIDGE, REGENT'S PARK, LONDON oil on panel signed lower left Collection of George and Maura McClelland RHA, Dublin, 1958, catalogue no.4'William John Leech: An Irish Painter Abroad', National Gallery of Ireland, Dublin, 23 October to 15 December 1996;Musée des Beaux Arts, Quimper, 10 January to 10 March 1997;Ulster Museum, Belfast, 28 March to 22 June 1997, catalogue no. 88 Ferran, Denise, William John Leech: An Irish Painter Abroad, Merrel Holberton, London, 1996, p.253 and 255 (illustrated);The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.41 (illustrated) Dr Denise Ferran, in William Leech: An Irish Painter Abroad, q.v., writes "The Bridge, Regent's Park, is painted in a silvery light with York Bridge, a high horizon-band of subdued umber tones, merging into the soft blue-grey tones of the background. In the foreground, the river reflects the cool grey of a winter sky which mingles with the muddy browns and greens of the still water". 13.25 by 17.25in. (33.7 by 43.8cm)
Los 48
Gérard Laenen (Belgian, 1899-1980) PORTRAIT OF MAURICE COLLIS oil on canvas signed lower left Maurice Collis was born in Dublin, the son of an Irish solicitor, and went to Rugby School in 1903 and then in 1907 to the University of Oxford, where he studied history. He entered the Indian Civil Service in 1911 and was posted to Burma in 1912. He had postings at Sagaing and elsewhere. In 1917, the British army raised a Burmese brigade with which Collis went to Palestine, but he saw no action. In 1919, he went on leave and travelled in Europe. In the 1920s he was district commissioner in Arakan. In 1929-1930, a period when relations between Burmese, Indians and British became particularly difficult, he was district magistrate in Rangoon. This period is narrated in his memoir Trials in Burma. He gives special attention to the political trial of J. M. Sen Gupta, mayor of Calcutta, for sedition in impromptu speeches made during a brief visit to Rangoon in 1930; also to two criminal trials which became politically charged because they brought to light underlying attitudes of British merchants and army officers to Burmese people. Collis's judgments were (according to his own analysis) too independent to be pleasing to the then British Government of Burma, arousing the particular disapproval of his superior, Booth Gravely, Commissioner of the Pegu Division. After giving judgment in the last of these trials Collis was hastily moved to the post of Excise Commissioner.Many Burmese regarded him as a god as those judgements fulfilled a prophecy that a man who was not a Burmese would dispense justice, and his appearance would presage Burmese independence.After returning to England in 1934, he wrote many books, including Siamese White and Foreign Mud, as well as art and literary criticism. At the age of 65 he turned his hand to painting.His younger brothers were the writer John Stewart Collis and Robert Collis, a notable doctor and author; John and Robert were twins. 27.50 by 31.50in. (69.9 by 80cm)
![Sir Terry Frost RA (British, 1915-2003) SUSPENDED FORMS TRIPTYCH [RED, BLUE AND YELLOW], 1982 acrylic and collage on canvas;](https://cdn.globalauctionplatform.com/51390001-8539-4292-b0a0-a76a00b092fa/627084d2-90a7-4c72-8baa-f37074b8b940/468x382.jpg)
Los 72
Sir Terry Frost RA (British, 1915-2003) SUSPENDED FORMS TRIPTYCH [RED, BLUE AND YELLOW], 1982 acrylic and collage on canvas; (3) each signed, titled and dated on reverse Peter Nahum at The Leicester Galleries, London;Collection of George and Maura McClelland Lewis, David, Terry Frost, Scolar Press, Leicester, 1994, p.127 (illustrated)Stephens, Chris, Terry Frost, Tate Publishing, 2000, p.71 (illustrated) Sir Terry Frost RA was an English abstract artist, who worked in Newlyn, Cornwall. Frost was renowned for his use of the Cornish light, colour and shape. He became a leading exponent of abstract art and a primary figure of the British art world of the latter half of the twentieth century.Born in Leamington Spa, Warwickshire, in 1915, he did not become an artist until he was in his 30s. He left school aged fourteen and went to work in Coventry. During World War II, he served in France, the Middle East and Greece, before joining the Commandos. Whilst serving in Crete in June 1941 he was captured and sent to various prisoner of war camps. As a prisoner of war at Stalag 383 in Bavaria, he met Adrian Heath who encouraged him to paint. He later described those years as a ‘tremendous spiritual experience, a more aware or heightened perception during starvation’.As soon as the war was over he went to Birmingham College of Art, moving in the same year to Camberwell School of Art under Leonard Fuller. The following year, 1946, he relocated for a year to St. Ives School of Painting where his first solo exhibition was held in 1947 at G.R. Downing's bookshop, before returning to the Camberwell School of Art under Victor Passmore, Ben Nicholson and William Coldstream, with whose encouragement he showed his first abstract work in 1949. For three years he exhibited with the St. Ives Society of Artists, until in 1950 he was elected a member of the Penwith Society; he maintained a permanent connection with the Newlyn school. In the early 1950s he worked as an assistant to the sculptor Barbara Hepworth. He was joined there by Roger Hilton, with whom he began a collaboration in collage and construction techniques.His first solo exhibition was in 1952 at the Leicester Galleries in London. Frost's academic career included teaching at Bath Academy of Art, the Coventry Art College and the University of Leeds School of Art, where he was the Gregory Fellow from 1954 to 1956. In 1958 while still teaching at Leeds he joined the London Group. In 1964 he was made Artist in Residence at the Fine Art Department of Newcastle University and became a full time lecturer for the Department of Fine Art at Reading University in 1965. He became Professor of Painting at the University of Reading from 1977 to 1981. In 1992 he was elected a Royal Academician and he was knighted in 1998.In 1960 The Barbara Schaeffer Society in New York, hosted Frost's first exhibition in USA. There he met many of American Abstract Expressionists, including Marc Rothko who, along with his wife Mel, became great friends. Further solo exhibitions include the ICA, London (1971) and the Serpentine Gallery, London (1976). A retrospective exhibition of his work was held at the Mayor Gallery, London in 1990, and a major retrospective, ‘Terry Frost: Six Decades’, was held at the Royal Academy of Arts in London in 2000. A major exhibition of his work commemorated the centenary of his birth in 2015 at The Tate St. Ives.Sir Terry Frost's work is held in many prestigious public, corporate and private collections throughout the world, including the Tate Gallery, the V&A, and the British Museum. 56 by 72in. (142.2 by 182.9cm)
Los 17
Sir Edwin Arnold (1832-1904) famous British poet and writer, oil on board dated 1893 and signed to lower left corner. Arnold worked closely with Holman Hunt on the 'The Light of the World/ The Great Consummation which was illustrated after Hunts design in 1893 during which time Arnold painted this work
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534325 Los(e)/Seite