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283287 Los(e)/Seite
Los 427
Various early to late 20thC brooches, comprising an amethyst three stone set brooch, in gilt metal setting, with floral motifs, and safety chain, a single gold framed and turquoise earring, a mother of pearl brooch, a gilt metal circular portrait brooch, a silver clock tower brooch, girl guiding brooch and a gold and seed pearl set bar brooch (AF).
Los 243
Historical amusement, a new and entertaining game of the History of England, Mid 19th Century hand coloured wood cut portrait cards of English monarchs from William I to Queen Victoria with rule booklet and questions, coloured counters in original wooden rectangular box. 36 hand coloured wood cut cards. (B.P. 24% incl. VAT) CONDITION REPORT: Overall for age in good condition. Some wear and losses to the top of the box. The cards appearing in very good condition as are the counters and booklet for age.
Los 53
Ariana Campbell, oil painting, Portrait of Commander Patrick Stratton Campbell RN, 66cm x 48cm, signed and dated 1931, sold together with the sitter's cased Bicorn hat and epaulettes by Gieve Matthews & Seagrove and dress sword with leather scabbard. Provenance: consigned to auction by the family of Patrick Stratton CampbellNote: Patrick Stratton Campbell pre WWI - training ships, WWI Lt Cdr Destroyers, Interwar Bombay Fleet and on Shorebase, possibly Naval Intelligence, WWII Shore Base, post WWII training ships
Los 44
PATRICK GRAHAM (B.1943)Mayo Series, Approaching StormOil on canvas, 183 x 204cmSigned, inscribed and dated 2007Provenance: With Hillsboro Fine Art, label verso.From the Antoinette & Patrick J. Murphy Collection.Born Mullingar, County Westmeath in 1943, Patrick Graham’s childhood shaped his life and art. His father emigrated in search of work, his mother spent long periods in hospital suffering from TB, and, aged six, Graham was sent to ‘a small rural community, to my grandparents, my brother and sisters went other places, orphanages I think’. Displaced, without siblings, ‘I became a watcher . . . at six or seven years . . . I became aware that I was a stranger, I was silent; for my secret self I found secret places - a pool of spring water, a tree so tall and full of flickering light that lifted me high up into the unpeopled sky. . . . In my private world there existed an innocence of God and of beauty, a magical belief in nature, my holy trinity, so to speak, was God, nature and a secret self receptive to a vision not of the eye but of the sensual engorgement that saw from within.’ He tells of how ‘I would strip naked on the bog, fill myself with the sensuality of the black earth, then black light and the head-high colour’. This for Graham was ‘pure energy’ and ‘my truest most innocent experience of the transcendent body made one in God and nature’. But ‘bog, body, the eating and drinking of colour, the sensual earth and the sensual body and spirit’ of boyhood gave way to power and terror on entering the Christian Brothers. There he experienced ‘religious fear and religious guilt’ but school also offered hope. In 1957 he began to help his art teacher provide stage sets and backdrops for local amateur productions and it was this that formed Patrick Graham’s palette which Peter Murray lists as ‘ochres, umbers, Titian reds, purples, Naples yellow and blue-blacks’. A brilliant draughtsman and teenage prodigy, Patrick Graham won a scholarship to NCAD and was recognised as such by his tutors and fellow-students. But he himself felt that he ‘collapsed under the dogmatic demands of academic tyranny’. After college, he worked in advertising for a while, abandoned painting for years and in an Interview with John Daly of Hillsboro Fine Art said, ‘I left behind that part of my life that stretched from 1962 to 1983 and began again from nil’. In a 1978 solo exhibition Graham presented his NCAD Diploma from 1964 with Cancelled stamped across it accompanied by a self-portrait with gouged-out eyes. Today, Patrick Graham, is revered by Irish artists, is internationally acclaimed and has been the subject of numerous exhibitions [Los Angeles, Amsterdam, London] and symposia here and abroad. Elected to Aosdána in 1986, Graham was awarded the President’s Gold Medal, Oireachtas Exhibition 1987For years, Graham had a house and studio in Lacken, on the North Mayo coastline. Very interested in that landscape’s archaeological and historical past, especially sheela-na-gigs and famine graves, speaking of the broader landscape he told John Daly that he loved ‘to look into nothingness’ there. This magnificent painting, in which Patrick Graham’s intense, sensual, boyhood connection with landscape still holds, gives us a bird’s eye view of a rugged, dramatic coastline. In the foreground a solid cliff face is loosely, fluently rendered. Low down, a cave’s dark opening contrasts with a sunlit grassy stretch on the cliff top and the gleam of silver sandy beaches in the distance, along the coast, lures and delights the eye. We are on the edge of the North Atlantic and it’s captured here translucently. Signed lower right ‘Graham, Lacken 2007’ the words ‘Mayo 2007’ are also found top centre. The words, lower left, ‘Approaching storm North Mayo Coast’ indicates imminent change, nature in constant flux.Patrick Graham likes to show the work and disappear. ‘If it needs me around to give it life, then I’ve failed.’ To John Hutchinson [in an Irish Arts Review interview] he spoke of ‘absolute surrender in relation to my work’. That ‘a loss of self-will, combined with an awesome sense of - for want of better words - some sort of “God experience”, is what I’m trying to achieve.’ And that’s what he achieves and achieves gloriously here.Niall MacMonagle
Los 165
Four paintings and prints, including two after van DyckComprising: after Sir Anthony van Dyck, Portrait of George Digby, 2nd Earl of Bristol, oil on canvas, 42cm x 35.5 cm; After Sir Anthony van Dyck, Portrait of Francis, Earl of Bedford, engraving s. 38cm x 25cm, together with an engraving of Henry Bennett, Earl of Arlington, After Sir Peter Lely; English School (19th century), from life - Elijah Turner, watercolour, 35.5cm x 25.5 cm. (4)
Los 186
A group of assorted paintings and printsIncluding four after Hollar; European School (20th century), Portrait of a monk, watercolour, oval, 13cm x 7.5 cm; English School (18th century), Portrait of a monk, oil on panel, oval, 26.5cm x 20.5cm; English School (18th century), Portrait of a lady as Magdalene, oil on copper, 14.5cm x 11.5 cm. (11)
Los 216
Three interesting historical oak relic fragmentsComprising: a fragment of oak from Shakespeare’s birth place mounted in a glazed frame with a reproduction of the portrait by Droeshout from the first folio and the original paper that the fragment was wrapped in, written on the wood itself is Shakepeare’s House 1857, on the paper in which the wood was originally wrapped in is written, Autumn 1857 Stratford on Avon-piece of the beam supporting the bedroom in wh(ich) Shakespeare is said to have been born at Stratford Apl, 23, 1564 died 1616 - The house was in the hands of restorers and a labourer had driven his pick into the beam leaving this bit hanging by a fibre-23cm wide, together with ’A piece of floorboard from the Whitehead house in Southampton County in southeastern Virginia where the only successful, American Negro slave rising occurred, in August 1831 led by the infamous Nat Turner. The floorboard is stained with the blood of a victim of that rising which claimed the lives of fifty-five Whites’, 19cm wide and a bullet encased within a piece of wood inscribed, ‘Gettysburg’, 12cm wide. (3)
Los 219
A group of 19th century wax portrait reliefsIncluding portrait of a lady in relief titled ‘Mrs Anth Stewart’, dated 1798 and signed by James Tassey, a large red wax portrait of Elizabeth I in a moulded octagonal cushion frame, a smaller white wax relief of Elizabeth I (a.f), two profile reliefs of gentlemen framed together in an octagonal frame, a relief of a bearded gentleman in a long cap in a later oval frame, a Regency wax relief portrait of a lady in riding habit, within a faux tortoiseshell verre eglomisé mount and lacking a frame, and a wax seal impression possibly depicting Martin Luther, the Tassey 16cm diameter. (7)
Los 227
A carved white marble bust of the poet John Milton (1609-1674), 18th century, after a bust attributed to Edward PearceBased on a work of circa 1660, 32cm high.Provenance: By repute the family of Judge Jeffreys (1648-1689), sold to Patrick Donald in Canada when the family brought it to Canada and then had left Toronto to live in Port Carling.A similar example is in the National Portrait Gallery (NPG 3781).
Los 234
Three 19th century Italian white marble portrait busts by Giovanni Insom (1775-1855)Comprising: pair of a lady and gentleman by Giovanni Insom (1775- 1855), both signed on reverse ‘INSOM FECE 1841’ , each 29cm high, together with another bust of a lady by Giovanni Insom, also signed on the reverse, 24cm high. (3)
Los 24
Major-General The Honourable Earl of Athlone and H.R.H. Princess Alice Countess of Athlone - pair 1940s signed presentation black and white portrait photographs - The Earl wearing the full dress uniform of Colonel and Gold Stick of the Life Guards, wearing orders and decorations - signed in ink 'Athlone' - The Princess wearing a diamond tiara, orders and dressed in a ball gown -signed in ink ‘Alice May Ottawa 1941’ - both in original green painted frames 33 x 25.5cm. Provenance: Given to the Athlone’s Butler Mr Ernest Bennett.
Los 84
H.M. Queen Elizabeth II and H.R.H The Duke of Edinburgh, signed presentation portrait photograph signed in ink on mount 'Elizabeth R 1973 Philip' in original gilt tooled leather frame with easel back 31.5 x 23.5cm with original box. Provenance: Given to Mr Herbert Heuston as a retirement gift after 28 years service as a gamekeeper on the Sandringham Estate.
Los 25
Admiral of The Fleet The Right Honourable Earl Mountbatten of Burma - signed black and white presentation portrait photograph of The Earl in Naval uniform wearing the Star of the Order of The Garter and medal ribbons - signed in ink on mount ’Mountbattern of Burma A.F.’ mounted behind glass 24 x 18cm, sold with a signed letter dated 25th March 1974 from Lord Mountbattern to Ernest Bennett, The Queens Page, thanking him for looking after him during a six week cruise on board the Royal Yacht Britannia. (2)
Los 345
A rare group of three 18th century English silver mounted salt glazed tankards, all possibly Fulham or Vauxhall, the first decorated with a hunting scene, a portrait of Queen Anne, the inscribed date '1728', and a silver band engraved 'Here's to ye pious Memory of Good Queen Anne in ye year of our Lord 1728 TW'. The second tankard is decorated in relief with three trees, on a two-tone ground, with labels attached to base, and the third is of two-tone form with simple turned band decoration, between 17cm and 21.5cm height. (3)
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283287 Los(e)/Seite