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283287 Los(e)/Seite
Los 838
'A Voyage to the Pacific Ocean; Undertaken by Command of his Majesty, for Making Discoveries in the Northern Hemisphere', Captain James Cook. London: Printed for Stockdale and others, 1784, but Vol.I John Fielding 1785. In four volumes, octavo, contemporary tree-calf binding but re-backed. Engraved frontispiece portrait of Captain Cook, plus numerous engraved plates and fold-out maps throughout. Cook's third voyage was to find the North-West Passage that was believed to link the Atlantic and Pacific oceans; unable to find the fabled route, he took his two ships south and explored the islands of Hawaii. Published just five years after Cook was killed while trying to take the king of Hawaii hostage following the theft of a ship's boat.
Los 932
Illustration Interest Signed Original Watercolour And Chalk Pastel Portrait Of Great Dane By M. Alizon Edmonds A large canine portrait by accomplished commercial artist and illustrator Mona Alizon Edmonds. Edmonds was a freelance illustrator and animal portrait artist working from the early part of the 20th century, through to the late 1970's. Her commissions included canine portraits for private clients, book and magazine illustrations and works for various councils and tourist boards. Framed and mounted behind glass, the image depicts a Great Dane in profile, titled 'Erica' to bottom right, signed above M.A. Edmonds 1959. Approx dimensions 15 x 20 inches.
Los 355
T. Todd - 19th Century oil on canvas - Still-life with birds nest, signed and dated 1876, together with a 19th Century English School - Watercolour - Primitive portrait of a young lady seated at a window and 20th Century English School - Oil on panel - Landscape with cattle, all framed Condition:
Los 392
English School (19th Century) Portrait of Sir Thomas Plumer, Kt. Master of the Rolls (1824), seated, holding a book beneath a red draped curtain oil on canvas 125 x 100cm (49 x 39in) Provenance: By descent at Little Barford Manor to the present owner Dirty. Tear across the face. Blacks are coalescing. Oil on canvas which appears to be unlined. In the sitter's face is a raised area of cracked and unstable paint. Areas of the painting appear worn and undefined, such as the sitter's hands. The surface is compromised by an uneven surface with wide drying cracks and alligatoring. The varnish is dull and uneven. There appears to be areas of retouching.
Los 334
§ Gilbert Gardiner (British, 20th Century) Portrait of an Officer oil on canvas 60 x 49cm (23 x 19in) The present portrait is of an officer in the rank of Lieutenant.; he is wearing the 1916-2015 pattern of Service Dress. Judging from his lack of medal ribbons, this officer was commissioned after World War I and the portrait was painted before World War II. He may be an officer in the British Indian Army - looking through all the cap badges for the British Indian Army and the closest - but not exact - match is The Madras Regiment, formed in 1758 and still in existence. We are grateful to Christopher Joll for his assistance with the catalogue entry Relined. Quite dirty and old gilt frame has chips and pieces missing.
Los 205
Rufus Collins signed photo. Black and white 8x10 portrait photo signed by actor Rufus Collins. Good Condition. All signed items come with our certificate of authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.95, EU from £4.95, Overseas from £6.95
Los 39
Patrick Collins HRHA (1911-1994)Fields on the Mountain IOil on board, 60 x 76cm (23½ x 30'')SignedProvenance: 'Patrick Collins Exhibition', The Ritchie Hendriks Gallery, Dublin, May 1967, Catalogue No.6, where purchased and thence by descent to current owner.Patrick Collins (1911 - 1994) was one of the most important painters of landscape in Ireland in the 1950s, 60s and 70s. His popularity was largely due to his unique depictions of a land shrouded in layers of mist that could read equally convincingly as wrapped in memory and mystery. As with Fields on the Mountain I (1967), his work rarely refers topographically but instead attempts to present an essential image of Ireland as a whole. This work and its companion piece Fields on the Mountain II, now in the collection of Dublin City Gallery The Hugh Lane and shown in the touring exhibition, The Delighted Eye (1980) emerged from what is arguably Collins’s most successful and popular period, when his work became progressively more romantic and expressionist. Collins was largely self-taught, apart from evening classes at the National College of Art and occasional classes with the portrait painter, George Collie RHA, from whom he would have learned the rudiments of oil painting but little else, and he spoke of his interest in Jack .B. Yeats, Nathaniel Hone the Younger and Paul Henry among Irish artists. While his work was certainly influenced by Yeats and especially the older artist’s application of paint, his interest in the other two artists focused on their approach to landscape. He particularly admired Paul Henry for turning his back on possibly more lucrative subjects in the 1920s to concentrate on Irish bogs. Paul Henry and the 17th century Dutch artists who are largely credited with inventing landscape had an identifiable audience for their work in mind, people who no longer lived on the land or knew how to work it. Collins was not primarily interested in nostalgia and especially not urban nostalgia. He felt that he had no choice but to paint the Irish landscape. As he told Brian Lynch, ‘it’s the field I plough. I have nothing else’.Fields on the Mountain I repeats a number of essential elements that Collins identified in that landscape and employed with considerable subtlety. The absence of hard edges and right angles is a marked feature of this painting, as is the halo effect of light surrounding the cluster of fields and cottages in the middle distance. Apart from travellers, Collins rarely included a human presence in his landscapes. It is only hinted at here through the obvious signs of habitation and agriculture but he was particularly sensitive to the shimmering reflections of marshy ground and coastal inlets. All are cocooned here in a typical Collins motif, a virtual frame within a frame, of mottled soft grey-purple. This is symbolic of his vision of the island as a whole which despite a period spent living in France - remained his chosen ground. Frances Ruane, described him as ‘consciously isolationist’ in his painting and went on to say that ‘if there really is a Celtic imagination, Collins must have it. Catherine MarshallAugust 2017
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