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534325 Los(e)/Seite
Los 482
THREE SILVER MOUNTED HORN BEAKERSone with wood inset base and serrated mount, 9cm h, unmarked, c1820, the largest applied with a shield with engraved initials WH, maker T-, London 1875, the third of better quality with mounts to both rims, by Boardman, Glossop & Co Ltd, Sheffield 1906++All in good condition, free from cracks or chips, etc. Only a few light scratches
Los 504
A RUSSIAN PAPIER MÂCHÉ SNUFF BOXthe lid painted with a portrait of a young man in a red shirt and blue coat, signed and inscribed in Cyrillic, the interior in sealing wax red, 8.25 x 7cm, 19th c++The corners of the lid slightly chipped and with a few light scratches and signs of wear around the sides and on the underside, unrestored
Los 516
A RUSSIAN SILVER GILT AND SHADED CLOISONNÉ ENAMEL BELL PUSH ATTRIBUTED TO FEDOR RÜCKERTof domed circular form and in the `Old Russian` style, pink stone button, on mahogany base, 8.5cm diameter apparently no workmaster`s mark, Moscow 1908-17Provenance: Bought at Christie`s Geneva, (as by Ruckert) 14 May 1986, lot 140 (CHF 2,600) thence by descent to the present vendor.++The screws securing the cover to the mahogany base in poor condition (one missing); the enamel in good condition with one or two light surface grazes just visible with a loupe, no restoration and entirely original, .88 standard mark. In contemporary silk lined Fabergé box which is in poor condition. Not offered for sale since 1986.
Los 522
A GEORGE III SILVER DOUBLE SNUFF BOXof bombé form, the lids chased with sporting scenes framed by rococo scrolls in moulded borders and shaped thumbpieces, 9 x 6.5cm, maker`s mark poorly struck, WI or T in an ellipse , London 1761, 6ozs++Of fine quality and in fine condition with very light wear such as minor scratches only. No splits or other damage or repair
Los 587
A VICTORIAN SCOTTISH HARDSTONE AND SILVER BROOCHin the form of a three flowered thistle plant in guilloche border, contemporary fitted case signed for MACKAY, CUNNINGHAM & CO GOLDSMITHS TO THE QUEEN 54 PRINCES STREET EDINBURGH++In fine condition with a few light marks and scratches on the reverse only, the case also in good condition with only light scuff marks on the top
Los 639
AN ALBUM OF POSTCARDSmany topographical, including Nottingham, driving cattle on Adams Hill, Lace Market, Mansfield Road, Lenton, Alfreton Street Scene (rp), resorts, exhibitions, chromo/embossed greetings, Hold to Light and Tom Browne, Dudley Hardy and other comic, some pu, all to members of the Carrier family of Dunkirk, Nottingham and their circle, c1900-10 (approx 230)
Los 713
ADAM KNIGHT (1855-1931)LANDSCAPES IN NORTHERN FRANCEa set of five, all signed, watercolour, 25.5 x 37cm (5)++Several with sporadic light foxing and slight overall fading, undisturbed in the original gilt oak mounts and frames with on the reverse the trade label of T R Smith Carver Gilder Nottingham. One titled on the backboard The Seine at Andely
Los 724
ATTRIBUTED TO HENRY WARREN, KL (1794-1879)THE RETINUE OF THE MAHMAL IN PROCESSION70 x 90cm++Unlined and on the reverse of the canvas the supplier`s stamp T G Riordan.... Pentonville. Small patched repair centre right, on the original stretchers, cleaned but free from over painting or extensive retouching etc, although not verified under UV light, some light general craqueleur. In what could be the original giltwood and composition gadrooned frame with small losses
Los 726
EDWARD R BREACH (FL 1868-1886)THE FAVOURITESsigned, signed again and inscribed with the title and artist`s address, 4 Addington Sqr Camberwell London verso, 72 x 99cmProvenance: Wychnor Park, Staffordshire where hanging in the late 19th/early 20th century and given to a member of the present Vendor`s family by one of the Levett family, or otherwise sold with the Park to Col Harrison (and by whom given to the same) shortly after 1913.++In fine original unrestored condition, the support not lined, holed, torn or otherwise damaged or restored, the varnish yellowing and in need of a light clean. In what is undoubtedly the original ornate Victorian giltwood and composition frame with small damage and regilt in a bronzing paint
Los 759
AFTER LOUISE ELISABETH VIGÉE LE BRUNPORTRAIT OF THE ARTISToval, board, 24.5 x 19.5cm++In apparently very good condition with some possible localised retouching but not verified under UV light, highly decorative and in ready to hang condition, the giltwood and composition beaded frame with one or two cracks in the lower part
Los 766
JOSEPH NICOLAS HIPPOLYTE AUSSANDON (B 1836)LA NYMPHE A COROTindistinctly signed, 99 x 64cm++Cleaned and ready to hang, apparently free from extensive retouching or overpainting, not examined under UV light, the support not lined and stencilled on the reverse with the name of the artist`s colourman Blanchet 17 Rue de Grenelle 17 Paris
Los 768
ATTRIBUTED TO HENRY DAWSON (1811-1878)AN EXTENSIVE LANDSCAPE WITH TRAVELLERS AND DISTANT RUINSwith inscription verso, Dawson of Nottingham Artist Aug 12th 1846, 38.5 x 50.5cm++Some possible minor retouching and light paint shrinkage, the impression of the stretcher just visible, the support not lined and on the original stretchers in what could be the original ornate early Victorian giltwood and composition frame, the gilding having been stabilised and with some repair
Los 793
AN ENGLISH FLINTLOCK BLUNDERBUSS, DATED 1788the cylindrical brass swamped barrel signed on the top flat WILSON 1788 and engraved with the bale mark of HEIC, the steel lock engraved as the barrel, with brass ramrod pipe, trigger guard and butt plate, walnut stock, barrel marker`s mark RW (probably for Robert Wilson) and proof marks, barrel 56cm l, 95cm overall++The fore end of stock with old loss, the stock with numerous old knocks and scratches, lock with old light pitting but original and unrestored
Los 796
A GEORGE III FRUITWOOD TEA CADDY IN THE FORM OF A MELONwith stalk finial, iron lock and oval keyplate, 14cm h++A good and undoubtedly genuine example, of pleasing colour with a number of old scratches and light marks, faint hairline shrinkage crack on one side, the stalk with one or two old chips around the base but original, minor old blackened crack on the lid above the keyplate, the steel hinge original and the interior with traces of the foil lining, long in the family of the present vendor. Entirely original and unrestored
Los 822
AN AUSTRIAN PATINATED BRONZE STATUETTE OF A MAN AT PRAYER CAST BY F BERGMAN, VIENNA12.5cm h, figure and underside of mat stamped 2082 GESCHUTZT, c1900++Heavily encrusted with dirt and grime but in fine complete condition requiring a light clean. A few slight scratches and oxidisation on the upper surfaces but not hitherto cleaned or restored
Los 966
A FLEMISH IVORY AND EBONY INLAID padouk and ROSEWOOD AND BUREAU CABINETthe upper part with dentil cornice and fitted with shelves enclosed by a pair of chevron banded, panelled doors, the bureau with conforming interior centred by a mirror inset door above a well and with three short and two graduated drawers to the front, on bracket feet, the sides also chevron banded in ebony and a light wood, 221cm h; 60 x 106cm, mid 18th c++The brass locks and eagle angles and lockplates all present. The handles possibly early replacements. Minor veneer loss and repair, lightly linseed oiled by the present vendor and with other small restorations, long in the present local private family`s ownership
Los 1002
A VICTORIAN OAK PARTNERS DESKone side fitted with nine moulded drawers, the other with three drawers and two panelled doors, the sides panelled, 78cm h; 122 x 152cm, c1900++Removed from a Nottingham professional office where used by the present vendor for 20/30 years and in need of some light cosmetic work only. The later gilt tooled maroon leather inset writing surface somewhat scuffed and worn. The handles all original, one drawer lacking the brass lock. Two panels in one side with minor vertical shrinkage cracks, slightly scuffed around the plinth
Los 154
AN ANTIQUE YELLOW JADE / HARD STONE PILLAR TOGGLE THE THREE DIMENSIONAL PUZZLE CARVING DEPICTING FISH. THE YELLOW JADE HAVING LIGHT BROWN INCLUSIONS. 6 CM`S X 2.5 CM`S WITH CENTRAL SUSPENSION HOLE. THIS ITEM WAS COLLECTED IN CHINA IN THE 1950`S BY AN ENGLISHMAN WHO WORKED UNDER LORD TREVELYAN BETWEEN 1952 - 1955.
Los 17
Frank McKelvey RHA RUA (1895-1974) The 'Ballyrush' at Warrenpoint Harbour Oil on canvas, 44.5 x 60cm (17.5 x 23.5") Signed In McKelvey's paintings, each work is carefully composed to adequately represent the scene to its advantage aesthetically. This painting focuses on the object of the commission - the Ballyrush motorship, one of John Kelly Ltd's vessels. On the funnel, the blue, white and red stripes and letter 'K' are visible to denote the company name. The ship is moored adjacent to the harbour and as the only large vessel depicted, asserts its importance. Beyond the Ballyrush, a bustling quayside is evident with a high pile of coal and cranes surrounding. The commercial fishing village of Warrenpoint is highlighted by a blanket cast of sunlight that lends the entire a picturesque character. Warrenpoint is strategically located at the head of Carlingford Lough on the east coast of Ireland on the border of Northern Ireland and the Republic of Ireland. The Mourne Mountains are indicated behind the village and the sky is sparsely but effectively treated. Typical of McKelvey the composition is enlivened by foreground activity, here an open rowing boat with three fishermen is depicted and a small group of gulls above. McKelvey's palette is perfectly suited to its maritime setting. His use of colour and range of tones is carefully orchestrated to represent the scene with fidelity. There are affinities in treatment of sea and sky and composition with 'The Queens Bridge, Belfast' 1963, by McKelvey in the Belfast Harbour Collection. In this work there is a similar composition with light falling on the city in the centre, a small rowing boat and gulls alongside the ship in the foreground. The Ballyrush motorship was painted on at least three occasions by Frank McKelvey. It was built in 1962 in Aberdeen, weighing 1575 tons and was owned by John Kelly Ltd 1962-1985, then subsequently sold. Marianne O'Kane Boal, May 2012
Los 24
Patrick Leonard HRHA (1918-2005) Unloading the Catch, Loughshinny Harbour Oil on canvas, 77.5 x 89cm (30.5 x 35") Signed Born the son of a Master Mariner, growing up and living in sight of the sea at Rush it was inevitable that Marine subjects would form an important part of Leonard's Å“uvre. The shoreline of Fingal including Skerries, Rush, Donabate and Loughshinny has always been an important fishing area particularly for crustaceans and the Seine fishermen have for centuries supplied the local and Dublin markets with these. In this work the Seine boats and their crews are being visited by the Fish Buying Agent, seen in a suit in the foreground with the skipper as an onlooker, and the various kinds of fish on offer will form part of the haul for the major fishmarkets. Traditional Seine Boats are seventeen feet long and clinker built with Elm bottoms and larch topsides. They were propelled by oars or sails and were usually named after the owner's mother or wife. These boats have been used in estuaries for hundreds of years working salmon seines. A salmon seine is a net that is two hundred yards long and over half a ton in weight. A seine boat carries the net and a four-man crew and is rowed by two fourteen-foot oars,the sail is the option for leaving and returning to port. The boats must be able to carry a ton of shellfish and still float in less than eighteen inches of water. In the past the Seine boats were also used in the winter months for catching herring and sprats. The conditions would be hazardous when working over the bar entrance to Loughshinny and Rush. Seine boats tend to be very safe and thus popular. They also figure in the trackless wastes of the storylines of East and West Cork as captured so amusingly and tellingly by the "Irish RM "stories and the law suits which figured in the Courthouse of Skebawn presided over by Major Yates RM, where the mysteries of dividing up the catch between the Crew & the Boats share would as Major Yates observed defy the arithmetic of Colenso. This vivid and sparkling work uses many of the visual syntactical approaches essayed by Seán Keating and Charles Lamb in their Western imagery, but made more immediate by the comparative modernity of the fishing craft and the attire of the figures in the foreground. The agelessness of the activity of fishing and selling the produce gives this work its timeless appeal and is a seamless restatement of and by artists who either live on Islands or whose local economy is virtually entirely dependent on the sea for a living. The sandy soil of the area, which also supports a large horticulture industry gives a particular quality of light, and which Patrick Leonard used to such vivid effect in so many of his finest works amongst which this work must rank very highly. By the repeated use of some colour notes like chrome yellow and reds creating internal dynamics of triangulation the artist stresses the visual appeal of the work by concentrating the eye of the viewer in several narrow bands of compositional interest and giving the work its "bounce" as a vivid and energetic pictorial statement of the life led in harvesting the Sea. Ciarán MacGonigal, May 2012
Los 30
Frank McKelvey RHA RUA (1895-1974) The Gypsy Caravan Oil on canvas board, 28 x 40cm (11 x 15.75") Signed Belfast born, the son of a painter and decorator the artist trained as a poster designer, which gave him, like his fellow Belfast man William Conor a terrific skill in giving a thin picture plane to which he grafted some very dense passages of impastoed pigment, which in turn gives McKelvey's early works their particular charge. By counter poising a thin almost translucent watercolour like medium as the background and the addition of vigorous action and movement as in this case of clothes on a washing line he could give great vigour to the static forms even of a large shape like the Caravan of the works' title. The form of the Caravan is more Romany than it is Irish Traveller and that could be accounted for by the number of Gypsies who travelled through Northern Ireland for horse fairs and as peddlers of fancy and soft goods. The foreground composition is typical of the artists handling of a meandering river through the composition, with its soft edges and young alders growing up along the riverbank. The soft brushing of the foreground forms and the translucent background throws the caravan and the washing line into prominence which is of course the real aim of the artist. McKelvey has learned lots of lessons in pictorial composition from Walter Brangwyn and Sir Alfred Munnings but McKelvey makes this subject very much his own, with its startling colour and shape in an Irish landscape. In his day he was considered the equal of Paul Henry and James Humbert Craig in his treatment of light and colour and one can quite see why. His early and middle period Å“uvre are his most important and whilst full of charm and whimsy are also very well crafted and constructed compositions, which appear almost effortless in their making. By using his signature on the foreground left, as a practice out of French "plein air" painting and the creation of triangular compositions using the blue of the shirt hanging on the washing line, the blue on the pole and the blue touches of cobalt in the foreground stream he contains the composition in a narrow band almost like a stage set, and the cerulean and green of the sky and the caravan all given little touches of red like the red headed child in the encampment, he enlivens the minds eye with this very charming work. Ciarán MacGonigal
Los 35
Aloysius O' Kelly (1851-1926) Boats and Wooded Harbour Scene, Pont-Aven Oil on canvas, 68 x 48cm (26.75 x 18.75") Signed Julian Campbell has identified this location as being the view of the harbour, Le Port en Amont and the town of Pont-Aven from downstream - Irish Arts Review 1996 P83. Exhibited: 1984 The National Gallery of Ireland "The Irish Impressionists" Cat No. 26 and toured to Ulster Museum (label verso) 1985; 1999/2000 The Hugh Lane Gallery, Dublin "Aloysius O' Kelly : Re- orientations'" Exhibition Cat. No. 21 (label verso) Literature: "The Irish Impressionists" by Julian Campbell NGI 1984 P165 (illustrated) Aloysius O'Kelly in Brittany, by Julian Campbell, Irish Arts Review, 1996 P83 (Illustrated) "Aloysius O'Kelly: Re-Orientations" By Dr Niamh O'Sullivan 1999 Full page illustration P 48 Aloysius O'Kelly - Art, Nation, Empire; Dr Niamh O'Sullivan, 2010, Catalogue Raisonné, cat. no. 72 (p293), full page illustration p170 Aloysius O'Kelly was one of the first Irish artists to go to Brittany, along with Augustus Burke, followed by many other Irish artists over the next half century. In the late nineteenth century, the remote port of Pont-Aven was about a day and a half's journey from Paris. The village comprised a small community of farmers, millers and fishermen. The Aven river was used to drive the mills of the village, and the port lies four miles up the estuary from the sea. Painted in the late 1870s, O'Kelly shows the village nestled in the surrounding woods, with the moored fishing boats reflected in the harbour, from downstream. He captured the distinctiveness of the fishing village, to the extent that at the turn of the century, the production of the first picture postcards of Pont-Aven feature a scene that bears a remarkable similarity to his painting. As the postcard producers took their cue from the artists, the locations became attractive to tourists, thereby encouraging the artists to paint the same locations, and even the same models, over and over. Notwithstanding the apparent naturalism of these images, they were thus, in many respects, contrived. The Monthly Illustrator (4, 2 (1895)) described Breton autumns as emitting 'a soft, pearly, luminous colour giving qualities of opalescent light to the landscape and enveloping everything in a tender tone of sentiment and poetry, a joy to look at and an inspiration to the painter.' In contrast to the dense darkness of some of his interiors, O'Kelly's winter landscapes emanate a chilly luminescence. Clearly painted sur le motif, the treatment of the natural elements is close to the work of his American friend, Hugh Bolton Jones. Dr Niamh O'Sullivan, May 2012
Los 36
William John Leech RHA (1881-1968) Interior of a Cafe (1908) Oil on canvas, 73.7 x 83.8cm (29 x 33") Signed and dated 1908 Provenance : Purchased at the RHA 1909 by the Hon. Lawrence Waldron; Subsequently bought by Senator Brennan who left it to Harry Clarke,who in turn left it to Lennox Robinson; Purchased from the Dawson Gallery, Dublin 11/12/1950 for £150 (A photocopy of the original receipt will be given to the new owner) by the present owner's father and thence by descent. Exhibited: Royal Institute of Oil Painters, 1908, Cat. No. 400 priced £80; Royal Hibernian Academy, Dublin, 1909, Cat. No. 81 priced £63 where purchased by the Hon. Lawrence Waldron; Salon des Artistes Français, Paris, 1914; where awarded a bronze medal; Royal Hibernian Academy, Dublin, 1969, "William John Leech Memorial Panel" No. 4; "Irish Art from Private Collections 1870 - 1930" Wexford Arts Centre, 1977, Cat. No. 29; "The Irish Impressionists", The National Gallery of Ireland, Dublin, 1984, Cat. No. 117; "The Irish Impressionists" The Ulster Museum, Belfast Cat. No. 117; 1996 The National Gallery of Ireland "William John Leech: An Irish Painter Abroad" Cat. No 4; 1997 Exhibition above toured to Musée des Beaux Arts, Quimper and the Ulster Museum Belfast. Literature: "Painters of Ireland: 1660 - 1920" by Anne Crookshank and The Knight of Glin 1979 P275 (Ill. p 278) 'The Irish Impressionists" by Julian Campbell NGI 1984 P260 "Leech in Brittany" by Dr Denise Ferran Irish Arts Review 1993 P227 "William John Leech" by Dr Denise Ferran 1992 p12 - 13 "Les Peintres de Concarneau" by H. Beleoch 1993 France P154 "William John Leech: An Irish Painter Abroad" by Dr Denise Ferran 1996 P103 (Ill p105) Some suspicion and slight distancing of the peasants from the artist/viewer can be detected in this work of 1908, which combines the group of peasants and their bar interior into a meticulously finished studio painting. The old peasant sitting becapped at the extreme left is the subject in 'A man with a bottle' (private collection). Since that is dated 1903, it seems probably that Leech worked on this painting for a long time. Here the man sits amicably drinking a cup of coffee with two of his friends - one of whom has a small liqueur glass on the table in front of him. All three look toil-worn with shoulders rounded by work in the fields, with bent backs and expressively painted boned hands. It is especially in the face of the standing figure that the viewer can detect distrust and suspicion. It is possible that Leech worked from a photograph or a postcard to complete the details of the bar interior, especially in the row of bottles above the bar, and added the figures from studio poses. The exaggerated space in the foreground, which directs the eye to the figures in the middle distance, suggests the angle of a camera lens, and the questioning gaze of the standing figure captures a momentary 'off guard' expression. The well stocked shelves of bottles and china cups which glisten in the reflected light and shine under the brass lamp may possibly be those of the Hotel des Voyageurs, where Leech stayed from 1907. Leech conveys the intimacy of this darkened interior, disturbed by the intrusion of light from the left, perhaps from a door, just opened. The gentle, withdrawn figure of a young girl reading, silhouetted against the lacy curtains of the lighted window, creating depth with light on dark, in a series of decreasing rectangles. The painting of the head and shoulders of a young red-haired woman in the framed picture on the wall of the cafe interior indicates the direction Leech's painting style was to take. Its simplified, bold areas of paint, lightened palette and strong play of light depart from the more academic treatment of the room's interior. 'Interior of a cafe' is a carefully constructed composition which combines drawing from life into a meticulously 'finished' studio panting. Here he makes use of sunlight and shadows to contrast the lighted areas of the three faces engrossed in conversation in dramatic chiaroscuro against the brown shadows which verge into black. To the right, enveloped in shadow, is the figure of a fourth man who waits, leaning on the counter, seeking service. When Leech exhibited 'Interior of a cafe' at the RHA in Dublin in 1909, the review in The Irish Times declared: "His interiors of French cafes are distinguished by a brilliance of execution, a realistic treatment, and a mastery of composition, which makes them singularly attractive." Leech had exhibited another work, 'Interior of a kitchen - Brittany' (whereabouts unknown) at the RHA in 1908, showing his interest at that time in the intimiste world of darkened interiors. The work failed to sell, however, and Leech exhibited it at the Royal Institute of Painters in Oil that October. It was possibly this work which was exhibited at the Salon des Artistes Francais in 1913, for which he was awarded a Bronze Medal. Leech later stated that the Salon work was bought by an American gallery in Philadelphia, but extensive research has failed to trace it. Leech also exhibited an Interior of a cafe in the Sinn Fein-organized exhibition 'Aonach', in Dublin, in December 1909. The review in Sinn Fein recognized that 'The picture of the Interior of a Cafe shows him to be a skilled draughtsman, possessing masterly technique..." Dr. Denise Ferran
Los 40
James Humbert Craig RUA,RHA (1878 - 1944) The Crolly,Co. Donegal Oil on canvas, 50.8 x 61cm (20 x 24") Signed Provenance: Purchased from the Victor Waddington Galleries 1940 by the current owners' father and thence by descent. Exhibited: 1939 The RHA Annual Exhibition Cat. No. 365; 1977 The Wexford Arts Centre, "Irish Art from Private Collections 1870 - 1930" Cat. No. 45; 1982 Bank of Ireland Exhibition Hall , Baggot Street, Dublin "Collectors Choice" Exhibition presented by The Friends of St. Patricks Hospital Cat. No. 20 Literature:"Irish Art and Modernism" by Dr SB Kennedy 1991 P 177 (Illustrated P159) J. H. Craig was one of a group of Ulster-born painters-Paul Henry, Frank McKelvey and Charles Lamb are the best known of the others-who in a large measure determined the development of landscape painting in Ireland in the inter-war years. But unlike his contemporaries, Craig's interest lay in the landscape itself and he was indifferent to a human presence. But he so stamped his view on the landscape of counties Donegal and Antrim that, even today, it is difficult to go there and not see things through his eyes. A keen fisherman, Craig had an angler's feel for the landscape, reacting directly to it and working quickly in a loose Impressionist manner typified, as his friend John Hewitt noted, by 'the swift notation of the insistent effect, the momentary flicker, the flash of light, the passing shadow' (Hewitt, Art in Ulster: 1, Belfast, 1977, p. 83). The Crolly, Co. Donegal, well illustrates these characteristics and is typical of Craig's work of the 1930s, a time when he produced some of his most memorable compositions. The scattered habitation caught in the distant sunlight and the emphasis given to the sky-the clouds flinging their dark shadows over the landscape and bringing to it a sense of grandeur-shows, too, the influence of Paul Henry on Craig in these years. Craig often made use of a palette knife which at times gives his work a somewhat monumental effect, as can be seen in the middle distance of this painting where one is acutely aware of the soft bogland which has been eroded over the years by the meandering stream. Dated 1935-37 on stylistic grounds. Dr. S.B. Kennedy, May 2012
Los 50
Jack Butler Yeats RHA (1871-1957) Good Evening Men (1950) Oil on canvas, 23 x 35.5cm (18 x 24") Signed Provenance: From the collection of Mr & Mrs Nebit Waddington and thence by descent to the current owner Exhibited: 1951 Jack B. Yeats Exhibition, Victor Waddington Galleries, cat. no. 11 1957 Jack B. Yeats- Memorial Exhibition, Royal Hibernian Academy, Dublin, cat. no. 88 1967 Jack B. Yeats Exhibition, Victor Waddington Gallery, London, Sept/Oct cat. no. 25 1972 From Yeats to Ballagh, Lund Kensthall, April-May, cat. no. 56 Literature: From Yeats to Ballagh, Lund Kensthall, April-May, cat. no. 1026 This humorous painting was Mrs Sidney Waddington's favourite work and according to her husband Nesbitt it depicted a foreman who has climbed up the ladder to find the workers slacking and playing cards in the hayloft. It shows an elderly man peering through a doorway and may have been inspired by a memory of such an incident. The sides of the ladder are visible as are the inner walls of the barn, painted in dark red and blue which frame the composition and indicate the interior darkness of the building. Behind the man a wild landscape and stormy sky unfolds suggestive of the West of Ireland. The effects of the changing light and the blustery weather is indicated by the vigorous way in which the paint has been applied, particularly in the sky. Below to the left a man with a horse and cart wait for their companion to return. The old man in his hat is a recurring feature of Yeats's later work. His weathered face created out of strong red and purple on bare canvas indicates a life spent out of doors. Often in Yeats's paintings one sees two such figures greeting each other in an open landscape. Here we, the viewers, take the place of the old man's companions. It is as if the figure has climbed out of the painting to greet us, bringing us playfully into an engagement with the work. Dr. RóisÃn Kennedy April 2012
Los 82
Anne Madden (b.1932) Antigone & Polynices Oil and graphite on paper mounted on canvas, 220 x 150cm (86.25 x 58.75") Exhibited: "Anne Madden - Recent Works" Exhibition, July 1987, Catalogue No. 4 where purchased by current owner. In the introduction in the catalogue, Madden talks of her inspiration for the current work: "These paintings evolved from the 'Megalith' series through the introduction of a horizontal onto the vertical form, thus making an 'opening'-an opening for me in my work as well as a way out of the vertical paintings. An 'opening' as a metaphor for interior/exterior space; a reconciliation of opposites: light/dark, life/death, day/night, male/female. I see these openings as thresholds, windows of the mind, metaphors of the artist's vision. Openings into a possible space, both psychic and physical, of the mind and of matter." "I am very aware of the contradictory nature of things, that everything is itself and its opposite: the void and fullness, absence and appearance, existence and non-existence, of the hair-line between them on which we balance: that Art itself is contradictory, its history both a continuum and a series of ruptures with the reappearance of ancient art forms occurring in the cracks of rupture. There is a recurring reference to the past in painting whereby it works itself through its own history, looks back at itself to go forward". "A fusion of inner and outer worlds, the figure of Antigone burying Polynices appears in my latest paintings (inspired by a 5th century b.c. Greek pietà ). Perhaps she is a metaphor of the creative process. She gathers the fragmented body to make it whole, to bury and thus ensure its rebirth. As Nietzsche said, "There is no burial without resurrection". In the back of my mind there is her relationship with Power and Death. Totalitarian power claims rights over the body, alive or dead. Antigone stood against the repressive edicts of Creon and the City, against old men who send youth to be slaughtered. She stands as a figure of human justice outside the law. There are many Antigones in our world. For me she is essentially a means to bring about a painting, which in turn is the only way I can ask myself the question 'What is painting'?"
Los 767
|G B COLLECTIONS AND MIXED LOTS|Mainly 1980s-90s Machin & Regional cylinder|Mainly 1980s-90s Machin & Regional cylinder blocks of 6 U/M, commems traffic light blocks U/M, House of Questa pack with defins (3), regionals (15) & commems (4 sets), 1970 & 1980 Exhibition items, etc. (many 100s)|0|Y
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534325 Los(e)/Seite