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534325 Los(e)/Seite
Los 275
Collection of 1960-80s Pall Mall Rugby Tour Almanacks – to include 1960 New Zealand South African Tour with scores and players written internally, 1961 France v New Zealand, 1963/64 New Zealand Tour of Great Britain & France, 1965 South African Tour of New Zealand, 1966 British Isles Tour, 1967 New Zealand Tour of Great Britain, France & Canada, 1968 French Tour of New Zealand, 1971 British Isles Tour of New Zealand, 1972/73 All Black Tour of The British Isles & France, 1975 Scotland, Tonga and Romania Tour of New Zealand, 1977 British Isles Tour of New Zealand with scores written internally, 1978 All Blacks Tour of Great Britain, 1979, 1980, 1982 & 1983, some with light fold marks and folds to corners and edges, most with spine wear, hence overall (F/G) (16)
Los 383
1935 Oxford v Cambridge Rugby programme and 1928 Menu – to incl 1935 Oxford v Cambridge 60th Varsity Match Rugby Programme – played on 10th December 1935 at Twickenham, a single sheet programme players incl Wilf Wooller and Prince Obolenksy, with light foxing to edges, wear to spine and light tears, no writing, overall (F/G) and 1928 Oxford v Cambridge Dinner Menu – a single card with no tears hence overall (VG) (2)
Los 33
William John Leech RHA (1881-1968) "A French Quayside" Oil on canvas, 44.5 x 80.5cm (17½ x 31¾") Signed Provenance: Sold in Christie's London, May 1952, to a private Swedish collector Mr Rymander, from whom acquired. Exhibited:The Frederick Gallery, Spring Exhibition, April 2002, catalogue no. 1; "The French Connection", The Ava Gallery, Clandeboye, August-September 2010, and the Hunt Museum Limerick, September-October 2010, Cat. No. 18; and "A Celebration of Irish Art and Modernism", The Ava Gallery, Clandeboye, June-September 2011, Cat. No. 29, full page illustration p38 A French Quayside captures a typical summers evening scene along the dock of the fishing village of Concarneau, with similar subject matter to A Sunny Afternoon, Concarneau, dated 1907 (illustrated p.121 Leech: An Irish Painter Abroad). Thomas Bodkin in his review of the 1909 RHA exhibition wrote: "A Sunny Afternoon in Concarneau, is charming for its atmospheric clearness, good perspective and other artistic points, which almost make the spectator think he is looking at a real scene instead of a picture…" Leech proudly recalled in later years that Nathaniel Hone bought his works from the RHA. Similar qualities are embraced in A French Quayside but here the sails are down in the tuna fishing boat and the fishermen have departed, but the main group on the quayside are included in similar poses in front of the row of shops, the coiffeur and the bar. A similar evening light bathes the harbour and the water is painted in Leech's freer brushstrokes, in a manner of Monet. From 1903 when Leech left Paris to paint in Brittany he focused on painting the sunlight of the Breton port and his work progressed from the darker tones of Boats at Concarneau (ibid. illus. P.129) to the confidence of A French Quayside. Although a slightly smaller work than A Sunny Afternoon in Concarneau, A French Quayside is not a study for A Sunny Afternoon, Concarneau but a different version of a theme and may indeed have been a sequel to A Sunny Afternoon, Concarneau. Like his contemporaries Leech used postcards which depicted scenes of the fishing town for his paintings, and he also used photographs, so it is conceivable that these two paintings are derived from the same source. A French Quayside is a complete work with the boat in the foreground expanse of water diagonally drawing the viewer to the calm horizontal of the sunlit quayside. In this work Leech has omitted the two moored boats, which he included on the left of A Sunny Afternoon in Concarneau and the extended shop frontage, but undoubtedly both paintings date from the same period, 1907, when Leech was at his most confident with his subject matter and paint handling. Dr. Denise Ferran
Los 37
William Lee Hankey Near The Cathedral, Granada (1914) Oil on canvas, 63.5 x 76cm (25 x 30") Signed Provenance: Paionel Gallery, London Exhibited: F.G Lee- Hankey is most noted as painter and etcher of French Harbour scenes and studies of English country life. He first studied a Chester School of art under Walter Shroeder, then at RCA under John Sparkes and concluded his education in Paris. Although Lee-Hankey lived for the most part in London, keeping a studio in Chelsea, he often spent long periods traveling throughout Europe and from 1904 onwards kept a house in Etaples in France. Here he stayed for much of the year and produced his main body of work. He returned to England upon the outbreak of the First World War to serve with the Artists' Rifles. He exhibited widely, at all the main London galleries including the Leicester, Fine Art Society and Lefevre Galleries; also at the Royal Academy, Goupil Gallery and ROI. He was elected RBA and RMS in 1896, RI in 1898, ROI in 1909, RE in 1911 sketching club between 1902-04 and a member of the Society of 25 Artists and in the late 1940's chairman of the Empire Arts Council. His work is represented in many collections England and abroad. The British Museum and Victoria and Albert Museum hold examples of his work. His work was shown internationally, winning a gold medal at the Barcelona International Exhibition and Bronze in Chicago. “Lee-Hankey was one of the early 20th century group of British artists, rather loosely described as English Impressionists. Like their progenitors they too broke away from tired academicism, seeking inspiration in the open air and painting scenes of everyday life what Eugene Boudin described as “La vie quatidienneâ€. Apart from Sickert and a few others many of them have not always received the critical attention they deserve, and this picture is surely an example of work that goes far beyond the mere representation of a picturesque scene, expressed with lively colour and accomplished draftsmanship. Though modest in concept and style it is something of a masterpiece, worthy of inclusion in any good collection of modern British Art, along side the Nash's Nevinsons, Pipers, et al. Cézanne spoke of “doing Passion, again after natureâ€. Lee-Hankey follows the precept by his journal precision and organization with the compositional stresses and strains of classicism, but also with a delicate touch of English lyricism. Note the subtle patterns of colour and shape, that delectable grey shadows, the careful placing of figures and horse, creating almost effortlessly, it would seem a tangible sense of space, just as Eugene Boudin could do. Then their s the unlaboured surface texture, emphasizing the picture plain and giving sensual pleasure. But above all is the light, not of the Turneresque kind, rather more of the Venetian 'vedute' Artists, with sunlight dancing across the surface is an almost musical sequence, expressing the artist love of his craft as well as the scene before himâ€. Yet for all that there is s sense of profound stillness, a dream-like quality that gives the work an extra dimension. Who could not respond endlessly to its charm. S P June 2002
Los 39
Roderic O'Conor RHA (1860-1940) The Farm, Provence Oil on canvas, 73.5 x 92cm (29 x 36") Stamped "atelier O'CONOR' on the reverse Provenance: Hotel Drouot, Paris, Vente O'Conor, 7th February 1956 Roland, Browse & Delbanco, London Ogilvy and Mather, London Sale, Sothebys, 18th May, 2000, lot 104 Private Collection, Ireland Exhibited:London, Roland, Browse & Delbanco, French Pictures of the 19th and 20th Century, 1958, No.39 London, Roland, Browse & Delbanco, Roderic O'Conor, 1961, No.1 London, Roland, Browse & Delbanco, Roderic O'Conor, A Selection of his Best Work, 1971, No. 3 London, Barbican Art Gallery, Roderic O'Conor, 1860-1940, 1985, No. 65 Literature: Jonathan Benington, Roderic O'Conor, A Biography with a Catalogue of his Work, Irish Academic Press, Dublin, 1992, p.211, no.172, colour pl.54, illustratedIn the early years of the 20th century Brittany was supplanted by the Midi as the rural haven in France for avant garde painters, who were attracted by the greater intensity of light and colour offered by the South. Inspired by the example of the Fauves, Roderic O'Conor abandoned Paris in 1913 for Cassis, a small Mediterranean fishing town hedged in on the seaward side by rocky inlets and some of the highest cliffs in Europe. Here, he rented an old villa and spent one of the most productive periods of his career, painting at least two dozen oils and several watercolours in the space of nine months. The results of this creative burst of energy must have satisfied him for he showed four of the Cassis pictures at the 1913 Salon d'Automne in Paris, interrupting his work by a fortnight in order to deliver the pictures personally to the exhibition. O'Conor reveled in his new surroundings and seized the opportunity to paint directly from nature, an approach he had not practiced for nearly a decade since leaving Brittany for Paris in 1904. Like Cezanne and Matisse before him, he made the discovery that the hotter Mediterranean sun infused even the shadows with radiant colour, contributing a range of blues, purples and dark greens to his palette which could be juxtaposed against their contemporaries - the orange, yellow and red of scorched earth, blossom, and sunshine. In the present work O'Conor shows the mountainous landscape of the Montagne de la Canaille, which provides the dramatic backdrop for the town and surrounding countryside, using a combination of strong yet vibrant greens, rich mauves and luminous orange counterpoised with subtle stripes in the pale blue sky which accommodates an early evening moon. In his review of the 1913 Salon d'Automne exhibition, the poet Guillaume Apollinaire praised O'Conor's submissions comparing his work with that of Gauguin. His comments were most probably inspired by the Irishman's reversion to a palette of rich, contrasting colours. O'Conor may not have accepted Gauguin's invitation to the South Seas in 1894, but he did discover his own sun drenched paradise nearly twenty years later in the South of France. We are grateful to Jon Benington, whose research forms the basis for this catalogue entry.
Los 40
Howard Helmick (1845-1907) "The Bibliophile" Oil on canvas, 83 x 67cm (32½ x 26¼") Signed and dated 1871 "This work is untitled but might possibly be a work called "Studying His Almanac" Brought up on a farm in Ohio, Howard Eaton Helmick began his art training in the Ohio Mechanics Institute in Cincinnati, and subsequently at the Pennsylvania Academy of Fine Arts (from 1862-64). Perhaps he emigrated to avoid becoming a soldier, but two years later he was successfully established in Paris, studying under the guidance of Alexandre Cabanel at L'Ecole des Beaux-Arts. His teacher was accomplished and award winning, and it's easy to see the stylistic influence on this talented pupil, who then showed work at the Paris Salon. Although his initial titles are in French, he soon began exhibiting titles at London's Royal Academy that suggest Irish subjects. Becoming friends with other exiles such as Whistler, he worked from a capacious studio in London's Holland Park, as well as showing titles from addresses in Ireland. He swiftly made a name for himself as an accomplished subject and genre painter, and his many surviving paintings and etchings demonstrate his consistent and undoubted talent. This composition brings to mind accounts by a writer friend of Helmick's, who visited him where he escaped London to paint at lodgings in Kinsale. Hawthorn describes how secretive the artist was about the place that he found so inspiring, just two hours ' by jaunting car' from Cork City in the south west of Ireland. 'Helmick, in his roamings in quest of genre, had discovered it, and every winter afterwards had set up his easel there. The winter climate is deliciously mild, so that you may sit at your open window in your shirt sleeves (as Helmick did to paint and I to write), yet a snow light will fall playfully for a few minutes, to melt as quickly…There is a liquid depth in the atmosphere, mystical and enchanting…Nor are there any other girls so good to be painted,…nor "interiors" more suitable to contain them. Then take the genius of Helmick, and the spell is wrought.' This scene appears unmistakably to be one of his Irish ones. The serving girl wears typical rural Irish attire, with her apron tucked up around her waist in the fashion that was customary for working women, with her white bawneen shawl and her head uncovered showing that she's unmarried. Her pose is reminiscent of other girls painted by Helmick, such as one in 'The Unexpected Visit', which similarly contrasts youth with old age. This scene could be set in the eighteenth century house that Hawthorn describes where the two men lodged 'a hotel, a recent erection, hardly a century old, and adequately equipped, and administered by a landlady and her two daughters…sixteen and seventeen, one slender small and graceful, with thoughtful blue eyes and crowned with silken hair…they would pose for the artist and prattle with the storyteller…'. Although lacking a title on a label, this does seems to be an early Irish work, predating the characteristically Irish titles he exhibited annually at the Royal Academy. The masses of enormous books scattered around the room, the spider legged table and Queen Anne chair, link this with the furnishings in his studies of Irish priests in their well-appointed rooms." Claudia Kinmonth, Irish Rural Interiors in Art (Yale University Press, 2006), fig. 59. Claudia Kinmonth 'Howard Eaton Helmick Revisited: Matrimony & Material Culture through Irish Art' in V. Krielkamp ed', Rural Ireland the Inside Story (Exhibition Catalogue, McMillan Art Gallery Boston College, 2012), pp. 89-101. Claudia Kinmonth, September 2013
Los 276
NEPAL 1981 Stamp Centenary Min sheet used or part used 1981 Stamp Centenary Min sheet used or part used (15), 1975 Tourism Year 2p (2) & 1995 Singhaduarbar 10p (10) U/M pairs with part design missing between, also Tibet 1974 UPU unissued set in traffic light blocks of 9 U/M but toning or creasing on some.
Los 991
Rev E. Cahill, Freemasonry and the Anti-Christian Movement, M.H. Gill and Son, Ltd, 1952 and other Masonic books to include; Herbert Poole, Gould`s History of Freemasonry, Vol I, II, III, VI: Caxton Publishing Company Ltd; Walton Hannah, Christian by Degrees, Masonic religion revealed in the light of faith, Augustine Press, 1954; Alexander Piatigorsky, Who`s Afraid of Freemasons? : The Harvill Press, 1977; Ron Chudley, Thomas Dunckerley, A Remarkable Freemason: Lewis Masonic, 1982; J.W. Stubbs, Freemasonry in my life: Lewis Masonic, 1985; Walton Hannah, Darkness Visible, a revelation & interpretation of freemasonry, Augustine Press, 1952. (10) Provenance: Dr Robert Petrie dec`d (Wallington, Surrey), member of a number of Lodges in Scotland and England
Los 1007
A. Cowan, The X Rays in Freemasonry: Effingham Wilson, 1901; together with other Masonic books to include; Freemasonry Unmasked as the secret behind Communism: The Briton`s Publishing Society: 1952; Neville Barker Cryer, Did you know this, too?: Lewis Masonic, 2005; Freemasons` Hall: The Library, Art, and Publications Committee, 1983; Bernard Jones, Freemasons` book of the Royal Arch: George Harrap & Co, 1957; M.D.J. Scanlan, The Canonbury, Volume I, The Social Impact of the Modern Western World: Canonbury Masonic Research Centre London, 2002; Joseph Attard, The Knights of Malta: Publishers Enterprisers Group Ltd, 1992; Vindex, Light Invisible - The Freemasons Answer to Darkness Visible: The Regency Press, 1952; Knoop & Jones, A short history of Freemasonry to 1730: Manchester University Press, 1940; Frederick Smyth, A reference book for Freemasons: Q.C. Correspondence Circle Limited, 1998; John Weir (Ed.), Robert Burns the Freemason: Lewis Masonic, 1996; Lionel Vibert, The rare books of Freemasonry: The Bookman`s Journal Office, 1923 (12) Provenance: Dr Robert Petrie dec`d (Wallington, Surrey), member of a number of Lodges in Scotland and England
Los 67
Archbishops of Canterbury, Wulfred (805-32), Penny, 1.35g, group III, c.815-23, Canterbury, Saeberht, facing tonsured bust extending to edge, three pellets to right and two to left of head, legend commencing at 12 o`clock, +vvlfred archiepi, rev. +saeberht moneta, Dorobernia Civitas monogram within inner circle (Naismith C46.2x - this coin; N.240/1; S.889), light surface deposits in places, full flan, good very fine, very rare provenance Bt. M. Vosper, November 2004 VAT Status: Margin Scheme View Terms & Conditions
Los 68
Mercia, Offa (757-96), Penny, 1.10g, heavy coinage, 792-96, Canterbury, Osmod, +of.fa in central panel, below, rex trefoil each side, above, uncial m, trefoil each side, rev. osmod in central panel, symbols above and below (Chick 239j - this coin; Blunt 103; N.320; S.908), light porosity, one or two stains, full flan, very fine, rare provenance Bt. 2005 Found at Harston, Cambs, c.2005 Recorded with the Fitzwilliam Museum, Cambridge, EMC 2005.0105 and BNJ Coin Register, 2006, 166 VAT Status: Margin Scheme View Terms & Conditions
Los 112
Mercia, Offa (757-96), Penny, 1,22g, light coinage, c.780-92, portrait type, London, Eadhun, bust right, offa re -x, rev. +e-ad-hv-vn, around central cross within a lozenge with arms terminating in a cross (Chick 32g; Blunt 39; N.303; S.905), some time mounted, tooled on obverse, good fine, rare provenance Bt. B.J. Dawson, March 1990 VAT Status: Margin Scheme View Terms & Conditions
Los 161
Edward the Confessor (1042-66), Penny, 1.08g, Pacx type, Stamford, Aelfheh, diademed bust left, sceptre before, rev. +elfeh n stamf, voided long cross extending from central annulet, limbs terminating with a crescent, a letter of pacx in each angle (N.813; S.1171), light crimping, good very fine, scarce VAT Status: Margin Scheme View Terms & Conditions
Los 167
Edward the Confessor, Penny, 1.07g, expanding cross type, light issue, London, Godric, diademed bust left, sceptre before, rev. godric on lvndn, central pellet within an annulet from which extend expanding cruciform arms linked at base (N.820; S.1176), toned, good extremely fine, a most attractive example provenance Bt. de Roufignac, June 1971 VAT Status: Margin Scheme View Terms & Conditions
Los 194
William I, Penny, 1.42g, Paxs type, Warwick, Thurcil, facing crowned bust holding sceptre right, rev. +Ðrcil on þerþic, cross pattée, an annulet in each angle containing a letter of paxs (N.850; S.1257), edge shows signs of light hammering in places, toned, a most attractive example of this type, extremely fine, very rare mint provenance Spink auction 22, 31 March 1982, lot 82 Mack, SCBI 20 -1457 - this coin; acquired April 1953 Duke of Argyll, collection acquired by Spink, 1949 With Mack ticket VAT Status: Margin Scheme View Terms & Conditions
Los 240
Edward IV (first reign, 1461-70), light coinage, 1464-70, Ryal, 7.75g, London, m.m. crown, king, crowned, standing facing in ship holding sword and shield, letter e on flag at stern, rose on hull, two trefoils after ed, rev. rose over radiate sun over royal cross, crowned leopard on each angle, large fleurs in spandrels, broken letter m (Schneider obverse 360 / reverse 358; N.1549; S.1950), nearly extremely fine provenance Sotheby, 14 October 1998 VAT Status: Margin Scheme View Terms & Conditions
Los 241
Edward IV, first reign, light coinage, 1464-70, Groat, 2.78g, Coventry, m.m. sun, quatrefoils at neck, c on breast, rev. civitas cove`tre (N.1581; S.2008), bold bust, nearly very fine / good fine, scarce provenance J. Scaife collection, Spink auction 175, 19 September 2005, lot 1182 VAT Status: Margin Scheme View Terms & Conditions
Los 242
Edward IV, first reign, light coinage, 1464-70, Groat, 3.07g, Coventry, m.m. sun ?over rose / sun, quatrefoils at neck, c on breast, rev. civitas covetre (N.1581; S.2008), double struck in places, good fine, scarce provenance B.J. Dawson, December 1973 VAT Status: Margin Scheme View Terms & Conditions
Los 295
Edward IV (1461-83), light ` cross and pellets` coinage, 1473-83, Groat, 1.95g, Drogheda, m.m. pierced cross, crowned facing bust, g on breast, rev. villa de drogheda, added annulet and pellet in alternate angles (D.F.134; S.6339A), nearly very fine VAT Status: Margin Scheme View Terms & Conditions
Los 296
Edward IV, light ` cross and pellets` coinage, 1473-83, Groat, 2.10g, Limerick, m.m. pierced cross, crowned facing bust, l on breast, cinquefoil each side of neck, rev. civitas limirici, added cinquefoil in alternate angles (D.F.130; S.6341), nearly very fine, rare provenance M. Delmé Radcliffe, Glendining, 17 April 1985, lot 421 VAT Status: Margin Scheme View Terms & Conditions
Los 297
Edward IV, light ` cross and pellets` coinage, 1473-83, Groat, 1.72g, Trim, crowned facing bust, g on breast, rev. villa de trim, (D.F.133; cf. S.6344A), weak in legends, chipped, nearly very fine, rare provenance Bt. Seaby, February 1978 The Spink Standard catalogue only notes a B on the breast for the Trim Groats of this issue so this coin would appear to combine a Dublin obverse die with a Trim reverse die. VAT Status: Margin Scheme View Terms & Conditions
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534325 Los(e)/Seite