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534297 Los(e)/Seite
Los 312
A German tinplate friction drive motor car by Phillip Niederneire, brightly coloured with 'PN' to the number plates, marked to the rear 'Made in Germany', 33 cms long (some scuffing and light rusting, one or two overpainted areas) and a friction drive tinplate model of an E Type Jaguar in blue livery (unknown maker, dent to roof, play worn, one bumper section and hubcap missing), 29 cms long
Los 120
A six-shot .44Cal percussion Remington New Model Army, 8inch sighted octagonal barrel stamped PATENTED SEPT. 14.1858 E. REMINGTON & SONS ILION. NEWYORK. U.S.A. NEW MODEL, stamped with a W, the serial no. 111974 and retaining light traces of original blued finish, the rammer with reasonable blued finish and stamped with the letter G, the cylinder stamped with the letter C and G, the frame with two C stamps and a single W stamp and retaining minor traces of original blued finish, brass trigger guard stamped with a J, wooden grips stamped GP.
Los 134
A rare 14-bore Morris flintlock Light Infantry rifle, 28inch sighted octagonal swamped damascus barrel bearing Tower Private Proofs, border engraved stepped lock after the New Land Pattern, stamped with a crown over GR and MORRIS across the tail, rainproof pan, feather spring, full stocked with regulation brass mounts, the barrel tang engraved with a strung bugle horn, butt with trap of the Baker 1805 model, the remainder of the furniture resembling the 1776 Pattern Infantry Rifle, swivel ramrod. See pages 195 and 196 of British Military Flintlock Rifles 1740-1840 by De Witt Bailey for illustrations and a description.
Los 196
A Georgian Light Company Officer's sword, 72cm sharply curved blade decorated with scrolling foliage, stands of arms, an Officer and a figure of Victory, highlighted in gilt on a faded blued ground, regulation steel stirrup hilt, wire bound fishskin covered grip, contained in its steel scabbard.
Los 240
An 1897 Pattern Infantry Officer's sword to the Durham Light Infantry, 82.5cm blade etched with scrolling foliage, crowned GVR cypher, crowned Royal arms and the owner's name LIEUT. J.H. BAILLIE, regulation pierced steel hilt incorporating a crowned GVR cypher, wire bound fishskin grip, contained in its black field service scabbard. J.H. Baillie served in the Durham Light Infantry and was killed in action on the 3rd of May 1917.
Los 89
A Third Light Dragoons King's German Legion flintlock Light Dragoon pistol, 9inch barrel, border engraved lock stamped with a crown over GR and TOWER across the tail, full stocked with regulation brass mounts, the stock with Ordnance date of 1800, the butt cap marked III. L.D. KGL. E.68, brass capped wooden ramrod. The King's German Legion fought during the Walcheren and Peninsular campaigns and at the Battle of Waterloo.
Los 22
Paul Henry RHA (1876-1958) WEST OF IRELAND ROAD THROUGH THE BOG, c.1932-1935 oil on board signed lower right 13 x 15in. (33.02 x 38.10cm) In the ownership of the present family for approximately fifty years The overall light tone of this painting suggests a date of c.1932-5. The mountain seen in the background, given this date, is likely to be in Co. Kerry, rather than Connemara. The scene might even have been painted on the Dingle Peninsula, which Henry visited in 1935 (cf. The Mountain Road, S. B. Kennedy, Paul Henry: with a catalogue of the Paintings, Drawings, Illustrations, Yale University Press, New Haven & London, 2007, p. 270, catalogue no. 856) to work on his Iveragh pictures (Kennedy, 'Paul Henry's Iveragh Pictures' in John Crowley & John Sheehan, The Iveragh Peninsula, Cork University Press, 2009, pp. 441-4.) The use of very fluid paint on the roadway and elsewhere also suggests a date of the early 1930s when the artist's mood - which is clearly reflected in his work - was lighter than it had been for most of the previous decade. The mountain, with its shoulder to the left, is also similar to The Mountain Road picture. In characteristic Henry fashion almost half of the picture plane is given to the sky, with its mixture of heavy cumulous clouds, which are not yet ominous, and the lighter cirrus clouds which are much higher. West of Ireland Road Through The Bog is numbered 1304 in S. B. Kennedy's ongoing cataloguing of Paul Henry's oeuvre.Dr. S.B. KennedyApril 2016 L
Los 30
Seán Keating PRHA HRA HRSA (1889-1977) SALUD, 1924 oil on board; with a second, incomplete self portrait on reverse signed in Irish lower right RHA, Dublin, 1924;Purchased by Lady Longford from the artist, 1926; Edward Pakenham, 6th Earl of Longford; By whom given as a wedding gift to the parents of the present owner, 1949 One of the most important lessons passed to Seán Keating by his teacher at the Dublin Metropolitan School of Art, William Orpen, was the necessity to paint every day. Rather like a trained musician, such practice keeps the eyes and hands in constant coordination. It was for this purpose, and not for reasons of vanity, that Keating painted so many self-portraits throughout his life. When without a model or a commission, nothing was easier for the artist than to follow the journey of his life by observing the ever-changing lines and contours of his face. Keating's wife, May, spent many years in Spain and is said to have even dreamed in Spanish. The couple maintained an interest in Spain and in later years had some involvement with the ambulance brigade that supported Irish men fighting on the republican side of the Spanish civil war. Keating rarely inscribed his paintings with their correct titles, and over the years new titles have been ascribed according to the content of the work. It is, therefore, a genuine pleasure to be in a position to reinstate the correct title to a previously mistitled work.Painted in 1924 at the artist's home in Woodtown, Rathfarnham, Salud meaning good health or cheers, is an early, light filled and visually pleasing example of Keating's work. The artist has positioned himself in front of what appears to be a Spanish hacienda, with a Spanish-style blue and white majolica jug to his right; two visual signals which led to the painting being previously mistitled Self Portrait at the Hacienda. Holding his ubiquitous cigarette in one hand, with a drink of whatever in the other, and wearing his fedora hat, the artist appears extremely content amid the colourful landscape. His attitude is in stark contrast to the incomplete self-portrait on the reverse of the painting in which he stands minus his fedora hat and other accoutrements, and without his Spanish-style landscape. Keating sold the painting to Lady Longford in 1926, and from there it made its way to a private collection. Consequently, it has not been seen on public exhibition as Salud since 1924; it is an exciting rediscovery and a wonderful addition to the artist's lifelong series of self-portraits. Dr Éimear O'Connor HRHAAuthor of Seán Keating: Art, Politics and Building the Irish Nation(Kildare: Irish Academic Press, 2013)May 2016 P
Los 39
Gerard Dillon (1916-1971) WEST OF IRELAND COUPLE AND HORSES oil on canvas signed lower right; with partial handwritten label on reverse detailing artist's name and address [26 Lower Clonard Street, Belfast]; also with canvas stamp verso [CH West / 115 Finchley Road / N.W.] 16½ x 21½in. (41.91 x 54.61cm) Collection of Phil Rafferty (friend of the artist);Thence by descent Roundstone and Inishlacken were recurring sources of material and inspiration for Gerard Dillon, who became preoccupied with the 'Western idyll' (1) following his first trip to the west of Ireland in 1939. The present work shows a couple taking a leisurely stroll at the days end. Ahead of them along the narrow road are two horses grazing and, their bodies coupled with the neat stone walls, invite the viewer's eye into the picture and towards the centre of the composition. The peacefulness of the rural setting is echoed in the soft rhythmic brushstrokes and gentle changing of light in the dominant sky. There is an aura of calm surrounding the scene and this is further enhanced by the horses who appear unaffected by the approaching pair. Horses appear in several examples of Dillon's west of Ireland paintings such as The Jockey and Omey Island Ponies; the latter shown at the artist's retrospective exhibition in 1972-1973. In these works the figures are also shown interacting in a very natural way with the animals, riding bareback and with minimal reins. In 1949 Eileen Philomena (Phil) Rafferty (1919-1996) - to whom the present work pertains - and Alice West, both amateur artists, accompanied Dillon to Roundstone. Dillon had met Rafferty in London where he was working on building sites and they became firm friends. Dillon's oeuvre had a significant impact on her work and she would later exhibit at the IELA in 1960. In subsequent years Dillon's pilgrimages west drew others such as artist George Campbell and his wife Madge, author Kate O'Brien, Drogheda artist Nano Reid, Dr Maura McQuaid and artist Oisín Campbell among others.Footnote:1. White, James, Gerard Dillon: An Illustrated Biography, Dublin: Wolfhound Press, 1994, p.60 L
Los 58
Tony O'Malley HRHA (1913-2003) POND REVERIE I, 1994 oil on board signed, titled and dated on reverse; with typed Taylor Galleries exhibition label also on reverse 48 x 48in. (121.92 x 121.92cm) Taylor Galleries, Dublin;Collection of the late Jim O'Driscoll SC 'Tony O'Malley', Taylor Galleries, Dublin, April - May, 1996, catalogue no. 9 Ed. Lynch, Brian, Tony O'Malley, Scolar Press in Association with the Butler Gallery, Kilkenny, 1996, p. 290 (full page illustration) This work is part of a series of pond paintings made by O'Malley over the later years of his life. In 1977 he and his wife Jane had bought a cottage at Physicanstown in Co. Kilkenny which became their permanent home in 1990. The garden was carefully cultivated and its pond provided the inspiration for an ongoing cycle of works that signal the stability of O'Malley's domestic surroundings and its impact on his artwork. Thinly painted on board Pond Reverie I explores the changing effects of sunlight on water. Reflections of light on the surface and on the fish and plant life below are picked out in bright oranges and blues. Flecks of impasto across the composition along with dots of flickering colourful forms suggest the vigorous organic life of the pond and create a rich and absorbing work of art.Dr. Róisín Kennedy L
Los 70
Barrie Cooke HRHA (1931-2014) FOREST TRIPTYCH, 1976 oil on canvas; (3) each canvas signed, titled and dated on reverse; two of three with Hendriks Gallery labels on reverse 70 x 60in. (177.80 x 152.40cm) Acquired directly from the artist by the present owner Barrie Cooke has always been influenced by the natural world. 'His involvement with the land emerges from his obsession with nature and its continual change - changing light, changing reflections in water, and the powerful changes brought about by growth itself.' (1) The motto 'everything flows' inscribed on his studio wall could describe the style of his flowing paint at the command of nature. Forest Tryptych was likely influenced by a trip to the rainforest of the Malaysian Borneo 1975. Cooke has described the profound influence of this tropical environment as 'the only time in my life where the paintings almost made themselves'.Cooke settled in Ireland in 1954 but was born in England and educated at Harvard, Skowhegan and Kokoschka's School of Seeing in Salzburg. A founder member of Independent Artists and Aosdána, he served on the boards of the Douglas Hyde Gallery and the Butler Gallery. He exhibited regularly at the Hendriks Gallery, Dublin, and, from 1986, at the Kerlin Gallery.Footnote:1. Walker, Dorothy, Modern Art in Ireland, The Lilliput Press, Dublin 1997, page 74 P
Los 1361
Led Zeppelin I, 2 and 3 L.P records and Paul Spectors greatest hits and Christmas album. Condition Report. To be used as a guide only. 1. Some scratches. Sleeve poor taped at one side. 2. A few light scratches, sleeve ok. 3. Some scratches. Sleeve coming un glued and with some discolouration.
Los 278
Scuba Diving Equipment - 1 x dry suit, 1 x thermal suit, 1 x BCG, 1 x ssets regulators with diving computer, 1 x reel with float with 2 flags, 1 x sets fins, 1 x diving knfe, 1 x hoods, 1 x diving light, 1 x lead shot weight belts, 1 x pair ankle weights, gloves, socks and boots, 1 x equipment bag, 1 x cylinder, 2 x specimen bags, 1 x flashing torch and other assorted items Condition Report Click here for further images, condition, auction times & delivery costs
Los 480
An early 20th century large shagreen easel photograph frame with ivory fillet, watered silk backing and lacquered brass strut. Stamped London Made, 35.25cm high. Condition Report. To be used as a guide only. Light scuffs and fading to the shagreen. Wear to the lacquer. Missing two pins to hold the backboard firmly in place.
Los 967
An early 20th century Continental carved polychrome wood Blackamoor lamp. The figure supporting a five branch gilt metal light is raised on a centre pedestal flanked by scrolling corbels over an associated table base, 185cm. Condition Report. To be used as a guide only. Needs to be wired. Some slight chips and feint cracks. Free from breaks and repair.
Los 985
An Irish George III harewood ladies fitted writing table in the manner of William Moore of Dublin. The top hinging to reveal an eizel mirror and compartments. With single drawer fitted with a leather inset writing surface. With marquetry inlay and raised on square tapering supports terminating on spade feet, 92cm wide. Condition Report. To be used as a guide only. Overall in very good condition. Some light wear.
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534297 Los(e)/Seite