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283287 Los(e)/Seite
Los 39
A collection of continental tin glazed earthenwares including a cachepot with blue and white chinoiserie type painted decoration and moulded mask handles, 13 cm tall approx, a Deruta dish of circular form with polychrome painted profile portrait of a man in feathered hat, a two handled serving plate with flower basket detail, etc
Los 693
A Cast metal portrait plaque of rectangular form, detailing Oswald Mosley of the British Union of Fascists, in profile with incised facsimile Mosley signature 22 x 17 cm approx together with a Blackshirts 'British agree Corps' armband and a BUF tie with lightening insignia (3) )Lots sold alongside books and ephemera also on Mosley and related subjects, lots 821, 831, 873, 907, 911)
Los 110
Angela Conner (British) CELEBRATION, 2001 bronze; (limited edition of 25) signed, numbered and dated at the base 8½ x 13in. (21.59 x 33.02cm) Bought directly from the artist in London by the present owner Depth: 13ins, with glass vase incorporated into centre of the work.Celebration was originally conceived for an ILPH Ball Fundraiser for the World Horse Welfare. Another example of Celebration was purchased by the late Duke of Devonshire. Angela Conner has created sculptures in a range of diverse materials, including stainless steel, marble dust, carbon fibre, resin, gold, silver, slate and glass. She has substantial international experience and is particularly known for her kinetic sculpture. Conner's sculptural works in Ireland include several large scale works such as Wave located in Parkwest, Dublin; the tallest water and wind sculpture in Europe. In April 2009 a major large-scale sculpture by the artist, entitled Patefaction, was installed on Grafton Street, Dublin as part of a temporary Public Art Space Programme, organised in conjunction with Dublin City Council. Her work is held in numerous private and public collections internationally, including the late Lucien Freud and several members of the Royal Family, the Arts Council England, the National Portrait Gallery, the Sculpture Gallery at Chatsworth, 10 Downing Street and the Carnegie Museum of Modern Art in Pittsburgh, among others. For further information on Conner’s work see: www.angelaconner.co.uk
Los 131
Ann Griffin-Bernstorff (20th/21st Century) CATTLE IN A FIELD, 1986 oil on canvas signed and dated lower right 26½ x 27½in. (67.31 x 69.85cm) Ann Griffin-Bernstorff is a native of Co. Limerick. Having trained as a horticulturist in France, she won the Taylor Art Scholarship in 1963, which saw her move to Paris to study at the Atelier Yves Brayer and Ecole des Beaux Arts. She then came to Dublin where she spent five years training and working as a picture restorer. In 1957 she married a Danish aristocrat, Count Gunnar Bernstorff, and they settled in Berkely Forest, an historic house near New Ross.Ann Griffin-Bernstorff's art is encouraged by a number of influences. Having amassed a fine collection of antique dolls and costumes, her work conveys playful, almost storybook scenarios. She looks to Botticelli as well as early Dutch and Flemish artists. Even at a glance, the influence of the Old Masters is evident, but at the same time Ann’s work inspires an element of fun, drawn straight from her own imagination. The figures depicted in her paintings are plump and pale faced, their attire plucked from a stage costume wardrobe. Each scene is whimsical, often portraying brightly painted images of mythical creatures before a theatrical backdrop.The on-going Ros Tapestry Project is a momentous community scheme based on art and history within the town of New Ross, County Wexford. The project has produced a tapestry comprised of fifteen large panels, each telling the story of the Normans coming to Ireland in the twelfth century. Ann acted as historian for the venture as well as painting the cartoons for each panel, while an assembly of volunteers workedon the stitching of each section.Griffin-Bernstorf's work is to be found in the following Irish public collections: the Office of Public Works, National Self Portrait Collection, University of Limerick and the Lambert Modern Art Collection, Irish Museum of Modern Art, Kilmainham, Dublin. She has exhibited widely in Dublin, Wexford and Derry and internationally in London, Chicago, New York and Miami.
Los 176
Markey Robinson (1918-1999) FLAMENCO DANCER, MALAGA, SPAIN gouache on board signed lower right; titled and with provenance on reverse 20 x 26in. (50.80 x 66.04cm) Collection of Zoltan Lewinter Frankl, Belfast;Collection of George and Maura McClelland Zoltan Lewinter-Frankl was Northern Ireland's only significant private patron of fine art throughout the 1940s and early 1950s, during the time that the post-war movement in Irish art was taking shape. He was a key source of support for artists such as Gerard Dillon, Daniel O'Neill, Colin Middleton, Markey Robinson and Jack Yeats, and went on to buy the work of the generation that followed them, which included Basil Blackshaw and T P Flanagan. When CEMA (the Council for the Encouragement of Music and the Arts, which would later become the Arts Council of Northern Ireland) organised its first touring exhibition of Contemporary Ulster Paintings to be shown in Scotland in 1951, thirty-seven of the forty-one works in the show came from the Frankl collection.Zoltan Frankl was born in Hungary in 1894 and was educated in Budapest. After service with a German Hussar regiment in the First World War (during which he was awarded the Iron Cross), he went to work in the wool and knitwear industry in Vienna. In 1924 he married Anny Lewinter, who owned a couture knitwear business, and by 1930 the couple were running a substantial factory. Following Germany's 1938 annexation of Austria, the Lewinter-Frankls, as Jews, were forced to flee the country for London. While in London, however, they were assiduously courted by the Northern Irish government, which had passed the New Industries Development Act in 1937 to encourage rural-based industries. The Lewinter-Frankls were invited to Belfast, and Sir Basil Brooke persuaded them to stay and set up textile factories. Frankl began collecting art almost as soon as he arrived in Northern Ireland. In 1944 he lent 39 pictures to a travelling exhibition of Ulster. All were Irish in origin including works by Nathaniel Hone, William Leech, Sean Keating and Jack B. Yeats. Also represented were William Conor, Hans Iten, Tom Carr and Paul Nietsche. In 1958 the Belfast Museum staged an exhibition of the highlights of Frankl's collection, and the catalogue ran to 248 works. Frankl was particularly friendly with Markey Robinson, whom he described in a catalogue introduction as 'the most amazing personality I have met for some time'. He also described Markey as Ireland's greatest artist in an arts magazine in 1948.Zoltan Lewinter-Frankl died in 1961. A portrait of Zoltan by his friend Paul Nietsche was gifted to the Ulster Museum in his memory.
Los 25
Sir John Lavery RA RSA RHA (1856-1941) AN EAST WIND, 1912 oil on canvas laid on board inscribed [To The Countess Becdelievre from John Lavery 1912] lower left; signed and titled on reverse 10 x 14in. (25.40 x 35.56cm) Adam's, 1 April 2009, lot 131;Private collection 'Exhibition of Irish Art', Milmo-Penny Fine Art, Dublin, June 1991, catalogue no. 5 In the autumn of 1912 Lavery sent his recently completed full-length portrait of Cécile Marie Ernestine Roger de Villers, Countess Becdelièvre, to the annual Autumn Exhibition at the Walker Art Gallery, Liverpool. Nothing is known about the circumstances of the commission and the portrait in which the countess wears, 'a wonderful Parisian creation in shimmering satin' remains unlocated. The present seascape, probably given to the countess at the time of the sittings, is the only evidence we have of the friendship that was formed as a result of the commission. Sketches, personally inscribed to favoured sitters, are not uncommon in the Lavery oeuvre. The fact that this represents a familiar group of rocks on the shore at Tangier may also indicate that the painter and his subject met in the 'White City'. In March 1912 while Lavery was working at his Tangier studio, and anticipating the wedding of his daughter, Eileen, General Lyautey invaded Morocco, making it a French protectorate. The numbers of diplomats and military personnel in the city immediately increased. Since the illustrious Becdelièvres were a military family, it is possible that the portrait commission resulted from this intervention - it was one of a number of portraits of the French nobility painted around this time, when the painter's reputation in Paris was consistently high. Between March and September 1912, at the International Society's exhibition in June, the painter had exhibited five small recent seascapes to which the present example may relate. All of these were 10 x 14 canvasboards, of which he had an ample supply. In the present case, the rocks on the left, stretching into a choppy sea, are likely to be those depicted on other occasions - most notably in A Rough Sea (Paisley Art Institute). At low tide, on a calmer day, these same rock pools would attract his wife and step-daughter, and their presence would be used to punctuate compositions that would then be re-worked on a larger scale. The beach also became a convenient thoroughfare for passers-by as in The West Wind 1911 (Private Collection). Few beach scenes however, apart from the Paisley picture and possibly, Tangier Bay, Rain 1910 (Ulster Museum), show inclement or potentially stormy conditions - as here. During the early months of 1912, as Lavery noted in a letter, the weather was colder and less predictable than usual, and strong easterlies swept the Straits of Gibraltar. While his painting activities were restricted, he was nevertheless a seasoned campaigner and small studies such as the present example were always possible. While the wind may whip up the sands on the shore, and threaten to overturn a larger easel, it made no impact upon the delightful freshness of the present sketch held securely in a field-box. Professor Kenneth McConkeyJanuary 2017
Los 27
Sir John Lavery RA RSA RHA (1856-1941) PORTRAIT SKETCH OF C.L. LIDBURY oil on canvas laid on board with sitter's name lower right; with note relating to provenance on reverse 8½ x 6in. (21.59 x 15.24cm) Collection of George and Maura McClelland On reverse: "This was a group of 5 sketches 4 similar to this and one costume sketch of cloths by Royal Dressmaker. The 3 men and 1 woman were all named similar to this one. The costume sketch and the bottom right of these 4 were signed. All sold separately, except this one later" signed by George McClelland and dated (1973)
Los 47
Seán Keating PRHA HRA HRSA (1889-1977) REST AFTER TOIL, 1924 oil on canvas signed lower left; signed again in Irish [Céitínn] on reverse 22 x 27in. (55.88 x 68.58cm) Christie's, London, The Irish Sale 14 May 2004, lot 188 as 'Man Standing by a Column'; Private collection; Whyte's, 22 February 2005, lot 45 as 'Man Leaning on a Capital'; Private collection Royal Hibernian Academy, Annual Exhibition, 1924, No. 185 Seán Keating is recognised for his use of allegory; this painting, known as 'Man Leaning on a Pillar' is an excellent example. The man in question stands in a landscape that features what looks like a Spanish building, but is, in fact, a farm building in the Dublin Mountains. Keating featured the same building in another painting - a self-portrait entitled 'Salud' - exhibited in the RHA in 1924, and sold at Whyte's, 30 May 1916 as lot 30. Prominent on the gable end of the building is a feature known as a bell cote, and in times past the bell was used to call farm labourers to work. Although the bell is no longer in place, it is the symbolism that is important to the artist's intended meaning. The unidentified man, hat tilted to protect his gaze from the evening sun, and sleeves rolled up, appears to be the person in charge of whatever work has taken place. He is well dressed, with a blue striped tie hanging loosely around his neck. He seems relaxed, happy even, with the days' work, as he leans on a very unusual decorative pillar. While a feature of the painting, such a pillar would not ordinarily be found in a farmstead in the Dublin Mountains. It is part of a Corinthian column, and its presence in the composition gives further allegorical significance to the peaceful scene. In consideration of the theme of work evident in the painting, Keating's use of the column brings to mind The Book of Corinthians, which is replete with references to the spiritual value of labour and, importantly, to the significance of common purpose such as that suggested by the bell cote: 'Now I appeal to you, brothers and sisters … that all of you be in agreement, and that there be no divisions among you, but that you be united in the same mind and the same purpose.' 1 Corinthians 1:10 When Keating exhibited the aforementioned 'Salud' in 1924, he also showed a painting entitled 'Rest after Toil'. The artist's original titles are often lost, but it seems clear given the allegorical meaning associated with the bell cote and the Corinthian column, and the man's contented demeanour, that this painting is 'Rest after Toil.' Featuring the same farm building, the two paintings would have had strong meaning for the viewing audience in 1924. In post-Treaty Ireland Keating used allegory to remind, and to implore his viewing audience to work hard, and to work together. It is a message that is equally relevant in the twenty first century. Dr Éimear O'Connor HRHA Research Associate TRIARC - Irish Art Research Centre TCD Author of Seán Keating: Art, Politics and Building the Irish Nation (Kildare: Irish Academic Press, 2013)
Los 50
William John Leech RHA ROI (1881-1968) MAY BOTTERELL pencil signed lower right 13¼ x 14¼in. (33.66 x 36.20cm) Collection of George and Maura McClelland William John Leech met the Botterell family in London in 1919, at the end of the First World War, on his return from painting in France and the Botterell family’s return from Holland. Percy Botterell, an eminent London lawyer had been a commercial attaché to The Hague during the war, and through his wife May, they had met Leech’s older brother, Cecil. Cecil Leech had fought in the First World War, as a commissioned officer in the Royal Horse Artillery. He had spent four years in a prisoner of war camp and as a released prisoner met May Botterell in Holland, where she had organised a relief centre for released prisoners, providing clothes, money and information to aid prisoners on their return home. It was Cecil Leech who, on his return to London, organised the meeting between the Botterell family and the Leech family and it was Percy Botterell who commissioned W. J. Leech to paint portraits of himself, his wife, May and his three children, James, Guy and Suzanne. This meeting and the painting of May’s portrait was to change the Botterell family life irrevocably and was to begin the lifelong relationship between May Botterell and W. J. Leech, which culminated in their wedding in 1953, after the deaths of Percy Botterell in 1951 and Leech’s wife Elizabeth, in 1950. Dr. Denise Ferran
Los 54
Gerard Dillon (1916-1971) MADGE CAMPBELL AND HER CAT, c.1945-50 oil on board 19½ x 18¼in. (49.53 x 46.36cm) Family of the artist The painting, Madge Campbell and her Cat, with its elaborate frame, is ostensibely the principal subject of this picture, but it is complicated by another framed work which shows the artist painting a model while seated by a balcony - or perhaps this 'other' picture is one which has been deliberately placed in the background. But there is, as usual with Dillon - one is reminded of his Yellow Bungalow in the Ulster Museum - a lot going on in the picture: the sub-plot of the model; the elaborate frame around the 'portrait'; the intricacies of space within the composition, which shows the influence on Dillon of Cubism. And to the right is what appears to be a lamp, whose shade gives rise to yet more shapes; while below the lamp is a picture of the artist painting; and underneath the 'Madge' portrait is a plethora of shapes that are echoed to the centre right.This early Dillon is unusual in the manner of its production, for normally one would expect Madge - wife of fellow artist and friend George Campbell - to be the definite subject of the picture. Yet it is withal still characteristically 'Dillon'. It has, since its inception, been in the artist's family and therefore has rarely been seen in public.Dr S.B. KennedyJanuary 2017
![Louis le Brocquy HRHA (1916-2012) LIFE STUDY [SELF], c.1970 oil on canvas 35½ x 28in. (90.17 x 71.12cm) With The Dawson Galle](https://cdn.globalauctionplatform.com/13bdb3a9-1d8b-4626-963f-a70e0100c124/dc860ef9-2616-445d-abd4-f91b77904e6f/468x382.jpg)
Los 65
Louis le Brocquy HRHA (1916-2012) LIFE STUDY [SELF], c.1970 oil on canvas 35½ x 28in. (90.17 x 71.12cm) With The Dawson Gallery, circa 1970;Private collection This work is thought to have been created circa 1970, during a period when le Brocquy was embarked on a particularly productive period of his vocation as an artist. Inspired by the Corlech head which he came across in the 1940s, an exhibit of reconstructed Polynesian heads at the Museé de l'Homme, Paris in 1964, a 1965 visit to see archaeological remains demonstrating a Celto-Ligurian head cult at Entremont and Roquepertuse in the South of France, le Brocquy created his Ancestral Heads series of paintings. Over the next ten years the heads would lose their anonymity and become the Portrait Heads, with which le Brocquy would become synonymous.The present work is almost a discovery - and if that, a discovery of immense importance. It can be placed with certitude between the series of Ancestral Heads (1964-1974) and the Portrait Heads (1975-2005). As far as we can find it has not ever been exhibited or illustrated in any medium until now; it was purchased privately from the artist through the agency of his Dublin gallery, The Dawson, by a friend of Louis le Brocquy, and it is consigned by her estate.It is among the very few - the other subjects being his father, his wife, Anne, and James Joyce - of the pre-1975 series of Head paintings to be recognisable - in this case the visage is that of the artist himself, and can be called 'a forerunner' of the Portrait Heads of a few years later. The sequence of four images is similar in composition to Head Sequence 1970, an oil on canvas in the collection of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC. Another painting in that collection, Head In The Sun, 1968, is distinctively related to the present work with its bright golden hue, as opposed to the dark blues and browns of most of the other works in the Ancestral Heads series.
![Tony O'Malley HRHA (1913-2003) SELF PORTRAIT,1977 gouache on paper signed with initials and inscribed [at Alex's, Newmill] lo](https://cdn.globalauctionplatform.com/13bdb3a9-1d8b-4626-963f-a70e0100c124/2afb236b-6ced-4575-955f-1b324eeeb3fc/468x382.jpg)
Los 200
After Sir Thomas Lawrence P.R.A. 1769 - 1830 ''Mrs Tierney'' A fine oil on canvas portrait, circa mid to late 19th century, after the now lost original which was last documented in 1806. Noted as number 161 ''Mrs Tierney', in Appendix II, List of Pictures Painted and Painting by Thomas Lawrence esq. ''Copied from a statement which Mr Lawrence corrected the 14th February 1806''. A Catalogue of the paintings, drawings and pastels of Sir Thomas Lawrence. Vol 39 of The Walpole Society. Author; Kenneth Garlick. In a fine gilt exhibition frame, with nameplate. 62.5cm x 74cm In original un-restored condition. Provenance : Private Collection, London The sitter, Mrs Anna Maria Tierney ( nee Miller ), was wife of the noted politician George Tierney 1761 -1830 - Cabinet Minister under Channing ( painted by Lawrence in 1810 )(Married 9 July 1789). Tierney was Treasurer of the Navy 1803/4, President of Board of Control 1806/7, and Master of the Mint 1827/8. George Tierney is especially remembered for challenging Prime Minister William Pitt to a duel, which was fought on Putney Common on the 27th May, 1798. There was much criticism of Pitt for duelling on a Sunday. Both men fired, missed, and withdrew. Following the death of her husband in 1830, Mrs Tierney was awarded a civil list pension of £400 per annum by Wellington's Ministry.
Los 313
Patrick Wybrant (Irish, 1816-1894), mid 19th C oval portrait miniature of an American lady wearing white bonnet, circa 1853, possibly from New York, Iowa, Montana or Massachussetts (all areas where Wybrant worked during his stay in America 1852-1855), signed Wybrant and dated to the 1850s, glass front with faceted edging, gilt metal brooch backing, 5.5 x 4.5cm.
Los 134
International Times (1969-74) 68-85, 104, 121, 126, 129, 130, 139, 141, 142, 160 and Vol 2 No 1. John and Yoko interview, early Fabulous Furry Freak Bros comic strip (on cover of No 74), Arlo Guthrie in London, Implosion at the Roundhouse with Julie Driscoll, Allen Ginsberg, interviews with Elvis Presley, William Burroughs, Frank Zappa, Elton John, The Adventures of Jerry Cornelius strip by Michael Moorcock and Mal Dean, Jethro Tull, Jefferson Airplane, Canned Heat, Monterey Pop and Bob Dylan Self-Portrait album review. And where else could you find the classified ad: "Attractive swinging chick, 18, needs cool guy with car for overland trip to Morocco, then India. Share expenses. Box 8503". Mostly fresh, unfolded copies [fn/fn+] (28)
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283287 Los(e)/Seite