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Preisdatenbank abonnierenA Leeds creamware coffee pot and cover18th centuryof pear shape with an acanthus moulded spout, painted with a head and shoulders portrait of a lady within a laurel leaf border below the initials 'SL', the opposing side with a spray of flowers in polychrome, 23cm highCover repaired and possibly associated, repaired break to foot rim and further chip to foot.
Circle of Arthur Pond.(1701-1758). Portrait of a Gentleman, traditionally identified as Thomas Giles Loder (1705-1744) of Hazelbury Bryan, Dorset, quarter-length, wearing a claret coloured jacket, oil on canvas, 76 x 64cm, frame 88.9 x 76.3cm. The frame bears an attached plaque identifying the sitter and attributing the work to Thomas HudsonPainting - Re-lined/restored.Some surface craquelure. A small area of canvas repair approx 2 x 2.5cm upper right centreFrame - minor chips and dents.
After Francois Giradon (1628-1715), a cuir bouille repousse leather portrait of louis XIV (1638-1715)Probably first half 18th century, in an oval giltwood and gesso frame moulded with leaves and berries.79cm x 64cm (frame 97cm x 79cm)A near contemporary of Louis XIV, Francois Girardon sculpted multiple portraits of the French king in bronze and terracotta, as busts and also full figure on horseback. A near identical repousse leather portrait of similar size was sold at Christie's Paris rooms, 18 May 2022, lot 196.Potrait: A few minor cracks/splits to the leather around the head. A few minor surface marks but generally good.Frame: Some shrinkage at the joints. Small losses in places. Some small repairs/restorations.
Four mourning brooches, two set with hair in tested 9ct, and two with portraits set in base metal, together with a tested 9ct ring with orange paste (one missing), a 9ct floral pendant with red paste, and a silver crescent moon brooch set with colourless pasteCondition Report: 9ct gross weight - 30.6All items in worn condition, with surface scratches. one of the 9ct brooches has a broken surround, one of the portrait brooches has broken glass
A MUSTARD, maker D & J Welby, London 1926, of tapering cylindrical form with chased stiff leaf lower section, the base chased with a Tudor Rose, engraved with the crest and motto of the "Merchant Taylors Co. 1st Charter 1327", the hinged cover chased with a head portrait, the "S" scroll handle with scroll thumbpiece, 3 1/2" high overall, 6ozs 9dwts with frosted glass liner (Illustrated) (Est. plus 21% premium inc. VAT)Made to commemorate the 500th anniversary, good, maker's mark rubbed a little
AN EDWARDIAN TRAY, maker Walker & Hall, Sheffield 1902, of oval form with arcade pierced gallery and two reeded scroll handles raised upon four bun feet, engraved with scrolling acanthus enclosing a vacant panel and a rococo cartouche engraved with the bust portrait of a young man in an open necked shirt, and a shield cartouche engraved with the crest and motto of Leith "Persevere" below "Sigillum Oppidi de Leith", 24 1/2" wide, approximately 79ozs (Est. plus 21% premium inc. VAT)Good gauge, generally good. Weighs 2.482kg
A GREEN AND WHITE GLASS CAMEO RING, the oval panel cut with the head and shoulders portrait of a bearded man, collet set to a plain unmarked shank with bi-furcated shoulders, size O (Est. plus 21% premium inc. VAT)Portrait good, some small chips around edge of green, 4.4g gross, panel 1.7 x 1.4cm approx
A VICTORIAN CARVED GILT WOOD OVAL PICTURE FRAME, with ribbon inner border, berried laurel surmount and scrolled acanthus to base centred by a scallop shell, containing a watercolour portrait of a gentleman, frame 17 1/2" x 11 1/2", together with a pair of similar items 14" x 10" (3) (Est. plus 21% premium inc. VAT)Small loss to rear of outer moulding of larger frame on left side centre, otherwise good
A VICTORIAN GILT GESSO PICTURE FRAME of earred oblong form with pierced scroll surmount hanging floral festoons, floral side pendants, containing a photograph portrait and housed in a velvet lined glazed satinwood box frame, 21" x 19", together with two similar smaller items (3) (Est. plus 21% premium inc. VAT)Large frame in very good condition bar some fading to velvet lining, one smaller one without backing board, the other with small split to glass in one corner, both with some fading to velvet lining
ATTRIBUTED TO WILLIAM I OLIVER (1823-1901), Portrait of a Young Woman in Lace Trimmed Dress and Green Silk Shawl, oil on canvas, unsigned, 12" x 9 1/4", gilt frame (Est. plus 21% premium inc VAT Provenance: Sotheby's Chester July 10th 1986 Lot 13210some crazing especially lower left corner, appears to have been cleaned at one time with some touching up, especially the hands, faint stretcher marks
ENGLISH SCHOOL (mid 19th century), Portrait of Hannah Shardlow, oil on canvas, unsigned, inscribed "Hannah Shardlow. B.1775 = Moore, 1795. = Dawson. 1807. d. 1844. Mother of Henry Dawson April 3rd 1811", 25" x 20", swept gilt gesso frame (Est. plus 21% premium inc. VAT)Two tears to canvas either side of face, some restoration/overpainting especially to lace collar.
A STAFFORDSHIRE STYLE ENAMEL BOX, late 19th century, of shaped oval form, the cover painted with the half length portrait of a fashionable lady with Prince of Wales feathers in her hair and the banner "Long Live the King", plain interior, Samson of Paris mark, 2 1/2" long (Est. plus 21% premium inc. VAT)Remarkably good bar base which has been extensively scratched - perhaps as a strike?
OF ROYAL INTEREST - a pearlware plate, circa 1820, of plain circular form centrally printed in underglaze blue with a half length portrait of "Her Majesty Caroline Queen of England" within a moulded border, unmarked, 7 3/4" diameter (Est. plus 21% premium inc. VAT)No cracks or restoration, flakes and chips to rim, glaze discoloured especially base
Waiting for Dawn - Timothy Neal Oil on canvas 594 x 841 mm unframed ARTIST STATEMENT: A self-portrait largely inspired by Sickert which was made to correspond with a similar portrait of my father to express how we both felt following him separating from my mother. Combined with my anticipation for moving to the UK to study in the following year, I wanted to express how I started to care less about the present in favour of anticipating what I looked forward to in the near future. ABOUT THE ARTIST: This piece is Shortlisted in the 2022 Sovereign Art Foundation Students Prize in Guernsey. Tim created this piece aged 18 while a student at Elizabeth College. Tim was shortlisted 3 times in the SAF Students Prize, winning with his piece "Maureen" in 2021. He has also won the Art for Guernsey Scholarship prize and is going on to study Art at university.
The Future is in Your Hands - Lily Wyatt-Nicolle Graphite Portrait on Paper 410 417 mm Framed IMPORTANT CONDITION OF SALE FOR THIS LOT: This piece forms part of the artist's A Level portfolio and must be retained by the school until October 2023. The purchaser of this piece will be given an identically framed replica which will be exchanged for the original once this is available. The replica will be produced following the sale of the piece, and may take up to 14 days. ARTIST STATEMENT: In tribute to a significant figure in the movement for Climate Change and Global Conservation of Nature: Sir David Attenborough. I chose to dedicate this piece to Attenborough as he has educated and opened the eyes of millions of people worldwide in regards to the natural world, using his platform to educate and speak on overlooked issues regarding the climate change crisis and mass extinction of species. I spent approximately 15 hours on this drawing using graphite. ABOUT THE ARTIST: This piece is Shortlisted in the 2022 Sovereign Art Foundation Students Prize in Guernsey. Lily created this piece aged 17 while a student at Guernsey Sixth Form Centre.
Thoughts from Within - Yvonne Lucban Pencil on paper 400 x 427 mm Framed ARTIST STATEMENT: My love of drawing with pencil and the idea of creating a surreal portrait has produced this image. I feel like the viewer is looking into the mind of the young woman as she contemplates life. ABOUT THE ARTIST: This piece is Shortlisted in the 2022 Sovereign Art Foudation Students Prize in Guernsey. Yvonne created this piece aged 15 while a student at Le Mare de Carteret High School.
K9 - Joe Salmon 787 x 770 mm unframed Spray paint on wood ARTIST STATEMENT: Inspired in part by the street art of Teddy Baden, I produced a piece using stencils and spray paints. The portrait is a stylised and fun abstraction of my dog. ABOUT THE ARTIST: This piece is Shortlisted in the 2022 Sovereign Art Foudation Students Prize in Guernsey. Joe created this piece aged 16 while a student at St Sampsons High School. His lino print "Generation" was also shortlisted in 2020. Joe was also an Art for Guernsey Scholarship winner when only age 14.
Self Portrait with Uterus - Anya Tee Oil on canvas 1000 x 1500 Unframed ARTIST STATEMENT: I was inspired by Frida Kahlo to create a self-portrait on the theme of medical mistreatment of women and AFAB people. Kahlo’s iconic self-portraits are highly symbolic in nature, and also often included anatomical imagery, which I have been investigating this past year. Like Kahlo, my painting includes many symbolic objects like pills and a syringe (to represent healthcare), and I also included a heart and uterus, as both are deeply symbolic and significant organs which featured in Kahlo’s own art. The aim of my piece is to highlight an important societal issue, and hopefully start a few important conversations. ABOUT THE ARTIST: This piece is Shortlisted in the 2022 Sovereign Art Foudation Students Prize in Guernsey. Anya created this piece aged 18 while a student at The Ladies' College. Her life drawings were also shortlisted in 2020. Anya was also an Art for Guernsey Scholarship winner in 2020.
Anton KothgasserTasse mit UntertassePorzellan, farbig staffiert und glasiert, teilweise vergoldet; feine Portrait- und Ornamentmalerei; innen vergoldet; auf der Unterseite gemarkt: unterglasurblauer Bindenschild, geprägte Jahreszahl "(1)807" und gemalte Malernummer "96" (Untertasse)H. 6,2 cm (Tasse); Dm. 13,5 cm (Untertasse)
Tim Noble und Sue WebsterVicious1999Licht-Installation; 98 Fuchsia Reflektorkappen Typ Sirio, Foamex, elektronischer Sequenzer238,8 x 79,2 x 10,2 cmRückseitig monogrammiert und datiert: © TN + SW 1999Ed. 5/5Christie's, London, 01.07.2015, Lot 263; seither Privatbesitz, SchweizMit ihren Licht- und Schattenskulpturen avancierte das englische Künstlerduo Tim Noble & Sue Webster um die Jahrtausendwende zu den neuen Stars am internationalen Kunstmarkt. Heute hängen ihre Arbeiten, u. a. in der National Portrait Gallery in London, im Guggenheim Museum in New York und im Arken Museum für moderne Kunst in Dänemark. Nach ihrem Abschluss am Nottingham Polytechnic Ende der 1980er zählten sie zur Post-YBA-Gruppe (Young British Artists), deren Ursprung bei Künstlerinnen und Künstlern wie Tracey Emin und Damien Hirst liegt. Tim Noble & Sue Websters Arbeiten sind geprägt von der Widersprüchlichkeit und Wechselwirkung von Abstraktion und Gegenständlichkeit, Gut und Böse, Liebe und Hass, Romantik und Schmerz, Licht und Schatten. Mit ihrer Punkrock-Attitüde verschmelzen sie die hohe und niedrige Kunst zu ironisch verführerischen Objekten. So auch in der Lichtinstallation Vicious von 1999, in der das Künstlerduo auf die Magie der glitzernden Reklamewelt reagiert, während man konzeptionell mit der Vorstellung von Boshaftigkeit spielt.(Stefan Üner)
Jan van NoordtDie Konkubine des Leviten1663Öl auf Leinwand50 x 63,5 cmUndeutlich signiert und datiert: (...) 1663Sammlung Wilhelm Ofenheim (1860-1932), Wien;Privatsammlung, WienCornelis Hofstede de Groot, Joan van Noordt, in: Oud Holland 10, 1892, S. 213, Nr. 17 und S. 217 Nr. 18Alfred von Wurzbach, Niederländisches Künstlerlexikon, Band 2, L-Z, Amsterdam 1910, S. 243Joseph Otto Kronig, Eeen onbekende Joan van Noordt in het museum van Brussel, in: Onze Kunst 10, Amsterdam 1911, S. 156Stephan Poglayen-Neuwall, The Wilhelm Ofenheim Collection, in: Apollo. A Journal of the Arts, August 1930, S. 129f., SW-Abb. VI (als Barent Fabritius)Sammlungskatalog Louvre 1929-1933, Band. 3, S. 42, erwähnt unter Nr. 1233 (als Der Levit in Gibeah, von Van Noordt)Werner Sumowski (Hg.), Gemälde der Rembrandt-Schüler, Band 1, Landau/Pfalz 1983-1993, S. 142, Fußnote 49Volker Manuth, Ikonographische Studien zu den Historien des Alten Testaments bei Rembrandt und seiner frühen Amsterdamer Schule, phil. Diss., Berlin 1987, S. 114, Fußnote 387David Albert Dewitt, Jan van Noordt (1624 - after 1676). famous history- and portrait painter in Amsterdam, phil. Diss., Ontario 2000, S. 181-183, Nr. 3
DE BOURRIENNE, M - MEMOIRS OF NAPOLEON BONAPARTE Blackie & Son, Glasgow, Edinburgh & London, no date circa 1858, 2 vols, engraved frontispiece and portrait page, numerous engravings, brown boards with gilt embossed decoration Condition: Condition Report Bindings in rather poor condition with wear to corners and edges, browning to pages and some foxing, and occasional small tears; bindings loose etc., occasional repar to interior, bindings loose viewing is recommended. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Admiral Vernon/ Porto Bello medallion 1739, obverse: half length portrait of Vernon, slightly to the left, legend "The British Glory reviv.d by Admiral Vernon", variety where Vernon's finger points to "R" of British; reverse: scene of the taking at Porto Bello with surrounding legend "He Took Porto Bello with Six Ships Only", and "By Courage and Conduct" in the exergue. NEF (very slight wear to tip of Vernon's nose). The Spanish took regular shipments of Gold and Silver from South America, the British had attacked Porto Bello in 1726 with 20 ships but, on that occasion, had failed, Vernon had boasted to Parliament that he could take the port with six ships only, this he completed. £60-80
“Engraved Illustrations of Antient Armour from the Collection at Goodrich Court Herefordshire, from the Drawings and with the description of Dr. Meyrick”, in two volumes, 1830, Volume I incorporating a portrait print of Sir Samuel Rush Meyrick dated 1833 (foxed), and containing a signed letter from Meyrick to a Mr. Moule. GC, well rebound with gilt spines. A classic work. £100-200
Special Signed Editions Eno (Brian) A Year of Swollen Appendices - Brian Eno 25th Anniversary Edition, 8vo, L. (Faber & Faber) 2020, signed, portrait black boards; Byrne (David) A History of the World (In Dingbats), oblong 8vo, L. (Phaidon Press) 2022, signed, illustrated, decor. red cloth; Iggulden (G. & H.) The Dangerous Book for Boys, 4to L. (Harper Collins) 2006, First Edn., signed, illus., decor. red cloth. (3)
Signed by the Contributors [Charles Wain] A Miscellany of Short Stories, 8vo, L. (Mallinson) 1933, Limited Edn. of 85 Copies [Charles Wain Copy] signed by the contributors, (including Sean O'Faolain, H.E. Bates, Geoffrey West, Liam O'Flaherty, Eimear O'Duffy and others) portrait frontis, green cloth. Good Copy. (1)
With Manuscript Note from Margaret Pearse Fitzgerald (Rev. T.A.)trans. The Mother (An Mathair) and other Tales by P.H. Pearse, 8vo, Dundalk (Dundalgen Press) 1917, First Translated Edn., (Second) portrait frontis, inscribed "To Seamus Bhrethnach from Margaret Pearse Mother of the Brothers Pearse in Remembrance of the visit to Foxford, September 1919," cloth backed boards, some wear. Nice Association. (1)
A.E. (George Russell) Selected Poems, 8vo, L. 1935, First Edn., portrait title page, blind decor blue cloth; O'Grady (S.) The Triumph of Cuchulainn, 8vo D. (Talbot) n.d., illus. frontis, gilt lettered Celtic design cloth; Robinson (L.) Lady Gregory's Journal's 1916-1930, 8vo D. 1946, First Edn., cloth and d.j.; Coxhead (E.) Lady Gregory A Literary Portrait, 8vo, L. 1961, photo frontis, cloth; Morgan (C.) Epitaph on George Moore, 8vo, L. 1935, frontis, cloth backed marble boards, as a lot, w.a.f. (5)
Aquinus (St. Thomas) S. Theme Aquinatis Praeclarissima Commentaria in Libres Aristotelis Perihemenias et Posteriorum Analyticorum, cum Antiqua Textus translatione, atque etiam noua Joannis Argyropyli:.. Folio Venice (Apud Hieronymum Scotum) 1570., title with wd. cut oval portrait, wd.-cut printers device at end, designs in text thro-out, orig. cont. boards; also Lohner (Tobiae) Instructissima Bibliotheca Manualis Concionatoria, in Qua de Virtutuibus, Vitiis Sacramentis, .. Folio 1712. Vol. III only, in fine blind tooled cont. pigskin, with orig. brass straps etc. A very good example. As bindings, w.a.f. (2)
Signed by Patrick Kavanagh Faber & Faber: Heath Stubbs (J.) & Wright (D.) The Faber Book of Twentieth Century Verse, 8vo Lond. 1953. First Edn., orig. cloth. (2) * Inscribed on front loose blank, 'Patrick Kavanagh Dec. 1952, a token for Elinor,' also Kavanagh (Patrick) Self-Portrait, Dublin (Dolmen) 1964. First Edn., cloth backed boards, pict. d.w. Clean copies.
All Signed First Editions Heaney (Seamus) Field Work, 8vo Lond. (Faber & Faber) 1979. First Edn. Signed, on front loose flyleaf, brown boards & pict. d.w., spine faded; Selected Poems 1965-1975, 8vo Lond. (Faber & Faber) 1980. First Edn. Signed & Dated, 22/11/85, blue boards, & pict. boards with Portrait; The Haw Lantern, 8vo Lond. (Faber & Faber) 1987. First Edn., Signed & Dated 30.VI.87, red paperboards, & pict. d.w.; The Cure at Troy, 8vo Derry (Field Day) 1990. First Edn. Signed, on front loose blank, grey paper boards, & pict. d.w.; New Selected Poems, 1966-1987, 8vo Lond. (Faber & Faber) 1990. First Edn. Signed & Dated November 1992. Orig. cloth, gilt lettered spine with dble. line borders, pict. cloth. All v. good copies., A20; A26; A41; A49; A46. Brandes & Durkan, A20; A26; A41; A49; A46.. (5)
Signed Copy of Author's Second Collection Heaney (Seamus) Door into the Dark, 8vo Lond. (Faber & Faber) 1969. First Edn., Signed & Dated November 1992, black cloth, v. clean orig. d.w.; Selected Poems 1965-1975, Lond. 1980. First Edn. blue boards, & pict. d.w. with portrait by author; The Redress of Poetry - Oxford Lectures, 8vo Lond. 995. First Edn., boards & orig. pict. d.w.; District and Circle, Lond. 2006. First Edn., boards & orig. cold. d.w.; Human Chain, 8vo Lond. 2010. First Edn., red boards, cold. d.w. All First Edns. All v. fine. Brandes & Durkan: A5; A26; A61; ??. (5)
Co. Meath Document (1746) with connection to Dean Swift Co. Meath: An exemplification of common recovery suffered on the lands of Donouer or Donore, Co. Meath, 12 Feb 19th George II [1746]. On vellum, in English. Royal portrait at top left hand corner. Across the top a scroll of vine leaves sprouting (rather improbably) an English rose and a Scottish thistle. Seal of the Irish Court of Common Pleas. 76 x 72 cm [30 x 28 ½ inches], seal diameter 11.5 cm [4 ½ inches]. An impressive document. Prior to 1834 it was illegal for the owner of an entailed estate to sell any part of his lands. Lawyers, however, found some ingenious methods of evading this restriction, one of which was a fictitious lawsuit in which the owner was said to “suffer a common recovery”. An “exemplification of common recovery” was generally an impressive (and no doubt expensive) document – large, written on vellum in an ornate script, headed with the royal portrait and national emblems, and bearing the large seal of the relevant court. The legal phraseology was often extremely complicated, but so formulaic that it was seldom written out in full. In this case, the owner was Joseph Robbins of Dublin and the intending purchaser George Birch, also of Dublin; Thomas Barnes of Kilkenny is also mentioned. The case was heard before Henry Singleton, politician and judge, now mainly remembered for his friendship with Jonathan Swift. As a m/ss., w.a.f. (1)
Kevin Barry and Liam Mellows Kevin Barry. A memorial Poem by Brian O'Higgins, with printed portrait in colour printed Celtic design, mounted on card, c. 1920's, scarce; with The Story of Liam Mellows. A pamphlet 4pp (single folded sheet), with portrait, 1929, issued by Executive, Cumann na mBan. Both items scarce. (2)
George Victor Du Noyer (1817-1869) Watercolours of Ireland’s Geological Landscapes This folio of ten large watercolour drawings by George Victor Du Noyer provides an insight into the work of a remarkable artist, who devoted his life to the advancement of science and art in nineteenth-century Ireland. Born in Dublin in 1817, of French Huguenot descent, Du Noyer was a prolific watercolourist, geologist and antiquarian. Over the course of his lifetime, he produced thousands of drawings documenting the landscapes, geological formations, antiquities and general life of the towns and countryside of Ireland. Du Noyer’s employment with the Ordnance Survey began when, aged seventeen, he was apprenticed to George Petrie, head of the Topographical section. In 1848 he was appointed assistant at the Geological Survey of Ireland, working under Thomas Oldham. The expansion of the railway network in Ireland during these years resulted in cuttings being made through rock, exposing valuable geological information. Du Noyer made drawings of many of these cuttings, then spent the next two decades traversing the Irish countryside as a geological surveyor, working mainly in counties Waterford, Wexford, Cork and Kerry, as well as Co. Antrim, Down and Armagh. Between 1841 and 1863, he exhibited forty-eight paintings at the RHA, as well as contributing illustrations to all's "Ireland" and Joseph Portlock's Geological Report on Londonderry, Tyrone and Fermanagh. His drawings were also used to illustrate Roderick Impey Murchison's Siluria, Joseph Beete Juke's Popular Geology and other publications. Du Noyer’s Huguenot roots were important to him, and in 1858, aged forty-one, he married Frances Adélaide Du Bédat. They had five children, the youngest being Henry Westropp. In 1867 he became the first District Surveyor of the Geological Survey, moving to Carrigfergus, Co. Antrim. However, while surveying he contracted scarlet fever, and died on 3rd January 1869, just one day after his daughter Fanny had died of the same disease. They were both buried in the graveyard adjoining All Saint's Parish Church, in Co. Antrim. After his death, his widow offered his collection of drawings, contained in twelve volumes, to the Royal Irish Academy, where they remain today. The other main collection of his work is held by the Geological Survey of Ireland, with the result that works by Du Noyer are comparatively rare on the open market. The first watercolour in the Fonsie Mealys' folio, Ancient River Course at Bagnelstown, is inscribed on verso “Ancient River course in granite near Bagnelstown, Co. Carlow. View of the site of great waterfall, looking up the gully.” Although signed and dated March 1857, it relates to a group of similar sketches (now in the Geological Survey of Ireland collection), made in September 1848 when George Du Noyer was in the Bagnelstown area. As with many of his landscape drawings, it includes figures of surveyors at work, examining and measuring the rocks. Another watercolour in the Fonsie Mealys' folio,Tilted Slabs, depicts large inclined slabs of stone in a coastal landscape, and is dated December 1857. The location is not identified but may be the Old Red Sandstone quarries at Carnivan Head in Co. Wexford. In Columnar Basalt, a third drawing in the folio, du Noyer, with characteristic brio, depicts a rowing boat braving the waves on the coastline of Co. Antrim. Visible in the foreground, battered by the seas, are hexagonal basalt formations, similar to those at the nearby Giant’s Causeway. The date of this watercolour is almost certainly 1857, when du Noyer visited the Giant’s Causeway in preparation for writing an article, which was duly published three years later, in The Geologist journal. A related drawing in the Fonsie Mealys' folio, Dunluce, is dated August 1857, and depicts what is likely the same rowing boat, beneath the cliffs near Dunluce, in Co. Antrim. The soft chalk cliffs have been eroded by the sea, but the columns of harder basalt stone stand proud. Granite River Bed depicts two surveyors working in an area of complex geology. Visible on the right hand side is a section of granite rock that still bears the marks of having been, as Du Noyer notes in an inscription on the verso, ‘rounded and furrowed’ by the action of running water. Beyond is a valley strewn with large boulders. As the new railway extended north from Dublin towards Belfast, du Noyer followed the line of the track, sketching newly-exposed walls of stone. A watercolour in the Fonsie Mealys' folio, Dundalk and Enniskillen Railway Cutting, with the railway line in the foreground, also includes a self-portrait of the artist, holding a drawing book. This relates to a similar drawing of a cutting on the same line, Trapped Dyke, which was reproduced in Beete Jukes’ 1853 Popular Physical Geology. Another important geological location north of Dublin can be found on the coastal cliffs of Loughshinny, between Skerries and Rush. The dramatic folded layers at Loughshinny are depicted by du Noyer with great accuracy in a watercolour which is a finished version of his woodcut illustration in Beete Jukes’ 1862 The Student’s Manual of Geology. Signed and dated 1857, the watercolour Dingle Harbour Cliffs shows dramatic cliffs, with vertical strata. The view is probably taken looking south from near Ferriter’s Cove, over fossil-bearing rocks of the Silurian period. Another Du Noyer watercolour of the Dingle Peninsula, Dingle Promontory, depicts a geological formation known as ‘The Acadian Unconformity’, where horizontal Middle Devonian rocks overlie older, Lower Devonian strata. Also visible is the sea stack known as “An Searrach” near Kinard Beach. This watercolour probably also dates to 1857. As a portfolio, w.a.f. (10) Dr. Peter Murray, 2022
‘To Great Brewers Everywhere’ BINDING. Keane (John B.) Letters of an Irish Publican. Mercier, D. & C.; C. 1974. First Edn., Dedicated ‘To Robert Howick and to Great Brewers Everywhere’. ROBERT HOWICK’S COPY (the dedicatee), specially bound in full pigskin with his embossed portrait on upper cover over his name in gilt, spine with gilt title, raised bands, turn-ins ruled in gilt, a.e.g. Upper cover a bit rubbed but a most attractive copy. Robert (Bobby) Howick (1924-94) was Director of Guinness Group Sales Ireland, and a legend in the trade for hospitality and good humour. A fine association item. The binding is unsigned, but probably Irish. (1)
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