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283284 Los(e)/Seite
Los 3047
BINDINGS. – William M. THAYER. From the Tan-yard to the White House, the Story of President Grant’s Life. London: 1904. 8vo (180 x 115mm.) Portrait frontispiece, occasional illustrations. (Some browning or spotting.) Contemporary red calf gilt, by Charles Thurnam & Sons of Carlisle, the upper cover with centrally placed emblem for Carlisle School in gilt (spine slightly rubbed). – And eight other leather-bound volumes (9).
![SUSSEX. Henry Fitzalan – Howard Fifteenth Duke of Norfolk. [N.p. but Oxford:] printed for private circulation by Freder](http://lot-images.atgmedia.com/SR/10123/2902926/3080-2014219154057_468x382.jpg)
Los 3080
SUSSEX. Henry Fitzalan – Howard Fifteenth Duke of Norfolk. [N.p. but Oxford:] printed for private circulation by Frederick Hall, 1917. 4to (218 x 180mm.) Portrait frontispiece. (Some spotting.) Original buckram, t.e.g. (soiled). – And a luncheon menu of related interest, together with thirteen others relating to Sussex (15).
Los 3085
BINDINGS. – Edmund Sheridan PURCELL. Life of Cardinal Manning Archbishop of Westminster. London & New York: 1895. 2 vols., 8vo (222 x 135mm.) Portrait frontispieces. (Some spotting.) Contemporary red half-morocco, by J. Larkins, the spines gilt, t.e.g. (slightly scuffed). – And a quantity of others, all leather-bound (a quantity).
![FOLIO SOCIETY (publishers). – Charles DARWIN. [The Essential Darwin.] London: 1990. 4 vols., 8vo (245 x 150mm.) Portrai](http://lot-images.atgmedia.com/SR/10123/2902926/3150-2014219154318_468x382.jpg)
Los 3151
YACHTSMAN PUBLISHING COMPANY (publishing.) British Yachts and Yachtsman. London: 1907. 4to (314 x 250mm.) Portrait frontispiece, numerous plates. (Some spotting, browning and creasing.) Contemporary morocco (worn, spine detached, stitching broken and many leaves now loosely inserted). – And one other of related interest (2).
Los 3164
FIELDING, Xan. The Stronghold, An Account of the Four Seasons in the White Mountains of Crete. London: Secker & Warburg, 1953. First edition, 8vo (217 x 140mm.) Portrait frontispiece, occasional illustrations. (Light browning and spotting.) Original cloth (extremities lightly bumped), dust-jacket (soiled, torn with some loss, backstrip darkened). – And one other of related interest (George Psychoundakis. ‘The Cretan Runner’. London: 1955. 8vo) (2).
Los 3196
COXE, Peter. The Social Day: a Poem, in four Cantos. London: 1823. 8vo (237 x 147mm.) Portrait frontispiece, engraved title and 30 engraved plates. (Some light spotting, frontispiece offset.) Contemporary half-calf, the upper cover with centrally-placed armorial onlay, (head and foot of spine scuffed). Provenance: library of Edward Bligh, 5th Earl of Darnley (binding). Note: appears to be a large paper copy.
Los 3218
BIOGRAPHIES. – Alec GUINNESS. A Positively Final Appearance. London: Hamish Hamilton, 1999. 8vo (233 x 150mm.) Portrait frontispiece. (Some browning.) Original cloth, dust-jacket. Note: signed by the author to title-page. Provenance: presentation inscription from an unidentified hand to title-page. – And twenty others, all biographies, all 20th Century (21).
Los 3233
MEYRICK, Samuel, and Joseph SKELTON. Engraved Illustrations of Antient Armour. Oxford & London: 1830. 2 vols., folio (379 x 257mm.) Frontispieces, portrait, additional decorative titles and 150 plates. (Some spotting and browning.) Modern cloth (extremities bumped). Provenance: ex public library (labels, ink stamp to titles and bindings).
Los 607
John William Gilroy (1868-1944), Waiting for daddy, Staithes, signed lower right, inscribed to old paper label verso, oil on canvas board, in a gilt composition frame. 32cm by 39cm Note: Born in Newcastle. A self taught painter of Landscape, marine, portrait and genre subjects in oil and watercolour. Exhibited at the Berwick Club, Newcastle, and the RA.
Los 23
Leo Whelan RHA (1892-1956) A COLLECTION OF 22 PAINTINGS AND DRAWINGS pastel on card; (1); oil on unstretched canvas; (21) pastel, signed lower right; canvases variously signed and inscribed 18.5 by 14.5in., 46.25 by 36.25cm. P Family of the Artist Unstretched canvases include: Woman in a Shawl, (23.5 by 19.5in.); Portrait of a Lady in Red, (29.5 by 26in.), signed lower left; Portrait of Mr R.R. Adamson, 1935, (29.5 by 25in.), signed inscribed and dated lower left; Portrait of a Lady in Black with Crimson Lips, faintly signed upper right, (29 by 25in.); Portrait of Aida MacGonigal née Kelly (14.5 by 16.25in.) [Aida Kelly, a part-time model at the college of art in Dublin where she met and later married artist Maurice MacGonigal in 1941.]; Nude Aida, (27 by 23ins.), inscribed with title on reverse; Portrait of a Lady in Black with Pearl Earrings, (40.5 by 32in.); Portrait of a Lady in White, (34.5 by 37in.). Two Still Life Studies, (14 by 10in.) (each). Also includes an unstretched canvas, Coastal Scene with Boat, which may only be attributed to the artist as an early work, (25.25 by 32in.)
Los 25
Leo Whelan RHA (1892-1956) LAMBAY ISLAND, 1911, A COLLECTIONS OF SKETCHES AND DRAWINGS and ARTIST`S ENGRAVED WATERMAN`S GOLD PROPELLING PENCIL oil on canvas; (1); works on paper or card; (7); gold pencil; (1) oil signed and dated lower right; titled on reverse; works on paper or card variously signed and inscribed; gold propelling pencil engraved with artist`s signature and hallmarked 8 by 10in., 20 by 25cm. L The Artist`s Family Dimensions of oil given. Among the sketches is a caricature of the artist painting a Cardinal`s portrait, sizes vary from 3.5 to 10ins. All unframed. 9 items total.
Los 27
Leo Whelan RHA (1892-1956) COLLECTION OF BOOKS AND CATALOGUES FROM THE ARTIST`S LIBRARY by in., 0 by 0cm. L Family of the Artist Collection includes a rare 1928 exhibition catalogue for Exhibition of Irish Art at the Metropolitan School of Art, Dublin; `Memorial Exhibition Patrick Tuohy RHA`, 14-25 July, 1931; RHA catalogues (1952 & 1966); IELA (1948); `Thomas Ryan` at Brown Thomas (1961); City of Bradford Corp. Art Gallery, spring exhibition (1929); Royal Society of Portrait Painters (1932, 1934 & 1938). Auction catalogues include Leo Whelan`s Estate Sale held at 26/27 Lower Ormond Quay, 14 May 1957 and catalogue for the Executor`s Sale for late Reverend Canon Dempsey, 25 May 1937. Among the books are: Whelan`s copy of Sir William Orpen [1923], a signed and dedicated copy of As I Was Going Down Sackville Street by Oliver St. John Gogarty [1937] the dust jacket of which illustrates a painting of Nelson`s Pillar [Sackville Street, later O`Connell St.] by Whelan, Recollections of a Court Painter by H. Jones Thaddeus, Jan Vermeer Van Delft by A.B. De Vries and The Paintings of Frans Hals (both signed and dated by Whelan). Pocket size editions of The Masterpieces of Teniers The Younger (1912) and of Raeburn(1908) among others.(29 items total)
Los 28
Sir John Lavery RA RSA RHA (1856-1941) A LADY IN WHITE (A PORTRAIT OF LADY LYLE) oil on canvas signed and dated upper left 50.5 by 40.5in., 126.25 by 101.25cm. P Sotheby`s New York, 22 February 1989, lot 452;with Kurt E. Schon, Ltd., New Orleans;Private collection Royal Academy, London, 1895, no. 88, as A Lady in White Anon., `The Royal Academy`, The Art Journal, 1895, p.179Anon., `The Royal Academy - Fourth Notice`, The Athenaeum, 22 June 1895, p.811;Royal Academy Pictures, 1895, p.140, illustrated.;Shaw Sparrow, Walter, John Lavery and his Work, Kegan Paul, Trubner Trench & Co., 1912, p.177; McConkey, Kenneth, John Lavery, A Painter and his World, Atelier Books, 2010, pp.68, 221 (note 97) By the 1890s, there was an element of risk involved in having one`s portrait painted. As Oscar Wilde infers in The Picture of Dorian Gray, (1890) a mystical exchange was believed to occur between the image and the living reality, and the painter`s role in this transfer was that of aesthetic alchemist. It was a common conceit that an international elite - a select band of portrait painters - brought life to their beautiful sitters and writers toyed amusingly with the idea that when the visitors were gone, the portraits in an exhibition actually stepped from their frames to say scandalous things about them. (1)So it was that in 1895 when he considered John Lavery`s portraits of A Lady in White, Mrs Park Lyle and A Lady in Black, (Miss Esther McLaren), the Pygmalion myth was not far from George Moore`s thoughts. He wanted nevertheless; to separate the artist`s pictures in that year`s Royal Academy from the ego-inflation that was such an obvious feature of John Singer Sargent`s and James Jebusa Shannon`s bloodless bravura. Their `white satin duchesses` were now being produced to order and he hoped, by contrast that the `fashionable lady` would be `induced to go to Mr Lavery`, that she would `refrain from advising him regarding the dress she should be painted in`, and recognise that with this artist, her opinion was of no consequence. (2) It was up to the painter to arrive at a `harmony` or `arrangement` that lifted mere face painting and flashy couture into the realm of art. James Stanley Little was quite explicit on this point, noting that Lavery had learned from Velázquez and Whistler the abstract elements that go to make a great portrait, (3) and recording the artist`s views on his craft, he noted that, He holds that the artist has license and prerogative to treat his sitter as he would treat a model, to this extent: he is entitled to seize upon and give prominence to those points which in form and colour suggest to him an attractive and interesting pictorial idea, and that, while the essential facts and characteristics which would enable a third person to recognise immediately the sitter in the picture must be preserved, the painter is entirely justified - further that no portrait can be a work of art otherwise - in treating his sitter subjectively, and infusing into his presentment his own artistic individuality. (4)It was this quest for an interesting `pictorial idea` that led to the refinement of Lavery`s portraits, and there is clear evidence of constant correction and adjustment of colour and tone in The Lady in White. If we study the sketch for instance, we can see that the artist had some difficulty in establishing the pose (fig 1, Sketch for `A Lady in White`, 1895, unlocated, formerly The Fine Art Society, London). If we look at the image used for reproduction in Royal Academy Pictures (fig 2, A Lady in White (Portrait of Lady Lyle), 1895, from Royal Academy Pictures, 1895, (Cassell and Co), p. 140) we see that a posy of flowers, harmonising with the delicate pinks and mauves of the background, has been substituted for a visually distracting black fan.(5) Lady Lyle`s aesthetic integrity was at first emphasised by a blue-and-white Nankin vase of flowers, placed on a side table, but this, as the picture developed, was lowered in tone.(6) The normally hostile critic of The Athenaeum approved these changes commenting that while he found the picture `stiff`, The Lady in White `possesses character` and it was `to be praised for its tones`.(7) Faint praise of this kind drove a later writer to affirm that Lavery was no flatterer, and he remarked that, ….we do not mean that his popularity has been achieved by compliments dexterously conveyed in paint. His success rests on more serious grounds … (8)By 1895 Lavery was the leading international representative of the Glasgow School. In that year his paintings were shown in Glasgow, Edinburgh, London and Paris, and with a touring exhibition of `Glasgow Boys` paintings in the United States. As a rising star he had secured a gold medal at the Paris Salon in 1888 - the first of his contemporaries, and it was claimed, the first `Scottish` artist to do so. (9) And when in that year he was commissioned paint the State Visit of Queen Victoria by Glasgow Corporation, his future was secured.
Los 29
George “AE” Russell (1867-1935) CONTEMPLATION oil on canvas signed in monogram lower left; titled on reverse; with handwritten label also on reverse [reads, A wedding present from a Mr Hogg to Rev. Geo. Townshend, 1981"]" 21.25 by 32.25in., 53.125 by 80.625cm. L with the Oriel Gallery, 1989;Where purchased by the present owner`s father;Thence by descent `George Russell ~ AE… at The Oriel`s 21st Anniversary`, Oriel Gallery, Dublin, 13 November to 2 December, 1989, catalogue no. 32a It was fitting that the Oriel Gallery should choose to highlight the work of AE for the gallery`s 21st anniversary as it was with George Russell`s work that it launched onto the arts scene in Dublin in 1968.In the catalogue for the 1989 anniversary exhibition, Oliver Nulty writes, Given AE`s awareness of the other world it is small wonder that he painted so many pictures of it and its inhabitants. Even his paintings of ordinary landscapes seem to be so influenced by it we often find it difficult to be certain whether the figures belong to this world or another, were it not for the fact that all those other worldly beings have colourful radiances coming from them. Of course there is no doubt about some of the poses - the half crouched or kneeling figures gazing with awe at some great being radiantly aflame. But others, such as those of children frolicking on a shore or playing in the water can recall some happy memories." Thereafter his clientele was drawn from wealthy Scots industrialists and ship-owners who included the families of wool and yarn manufacturers, the Fultons, the McKeans and the Clarks, as well as the renowned collector, William Burrell and the adventurer-laird of Gartmore, RB Cunninghame Graham. Now in 1895, he was admitted to the ranks of the Royal Scottish Academy with a portrait of Mrs Christie Smith, entitled The Rocking Chair, as his Diploma piece. (10) At this point, at the height of his fame in Scotland, Lavery`s magisterial Lady in White, thought to represent Mrs Park Lyle, a member of the Abram Lyle dynasty, took its place in the cavalcade of dignitaries associated with `the second city of the empire`. (11)Deliberating on Lavery`s achievement at the end of that important year, Moore`s avant-garde comrade, D. S. MacColl pressed the painter to extend himself further: When he paints a pretty woman, he seizes upon one or two obvious points of likeness, fixes the general allure of the figure, and makes a striking assertion of the éclat of fair flesh. A painter who can imagine the beautiful harmony of colour in the draperies of one of those portraits, and whose appreciation of the principles of picture making is evidently so high, owes it to his talent to try for other virtues. (12)MacColl was looking for more and so too was the painter. Glasgow was no longer enough for him. Rome, Berlin, Paris and London were calling. The international success of the Glasgow group continued and while there were `Glasgow Boys` exhibitions in St Louis and Chicago, its members, Lavery among them, were defecting. In March 1895 Blackwood`s Edinburgh Magazine carried an article chauvinistically declaring the new Scottish painting `the most vital art movement` of the day, conveniently neglecting the fact that Lavery, its most ambitious member, did not hail from the Glasgow hinterland. He was nevertheless singled out for praise and `elegance of arrangement and style` were regarded as the chief characteristics of his work. (13) The writer could indeed have been thinking about the picture then in his studio and nearing completion - A Lady in White. Prof. Kenneth McConkeyJanuary 2014Footnotes:1. See for instance, Two Art Critics, Pictures at Play, 1888 (Longmans, Green & Co); also William Sharp, Fair Women in Painting and Poetry, 1894 (Seeley and Co), quoted in Kenneth McConkey, Memory and Desire, 2002 (Ashgate), pp. 90-94. 2. George Moore, `The Royal Academy`, The Speaker, 11 May 1895, p. 516.3. Kenneth McConkey, John Lavery, A Painter and his World, 2010 (Atelier Books), pp. 63-8. Having painted Mrs JJ Cowan and her daughter, Laura, Lavery recommended Whistler to her husband for a small full-length portrait (National Galleries of Scotland).4. JS Little, `A Cosmopolitan Painter: John Lavery`, The Studio, vol xxvii, 1902-3, p. 118.5. McConkey, 2010, p. 68. It was not unusual for paintings to be photographed for Royal Academy Pictures, while still in progress. Although there is no evidence to suggest that changes to the picture were made prior to, or shortly after its showing, this is likely to have been the case. 6. Lavery had used a similar motif in the portrait of Miss Mary Burrell, in the previous year and for this reason as much as any, he may have sought to reduce its effect in the present composition. 7. `The Royal Academy, Fourth Notice`, The Athenaeum, 22 June 1895, p. 811. 8. Anon, `The Glasgow School of Painting`, The Edinburgh Review, no. 398, 1901, p. 498.9. Charles M Kurtz, `The Glasgow School, The Men and their Work`, Modern Art, vol 4, no. 1, 1896, p. 8.10. McConkey, 2010, p. 68. 11. Walter Shaw Sparrow, John Lavery and His Art, n.d., [1912], (Kegan Paul, Trubner, Trench and Co), p. 177. Abram Lyle, the Greenock sugar refiner and ship-owner, merged his company with that of Henry Tate, founder of the Tate Gallery, London, to form the world famous Tate and Lyle sugar manufacturer. The Lyle company specialised in syrup and its motto, taken from the Old Testament story of Samson, remains `Out of the strong cometh forth sweetness`. Mrs Park Lyle is thought to be either of Abram Lyle`s daughters-in-law, Grace Eleanora Moir (1855-1918), who married his son, Sir Alexander Park Lyle (1849-1933), in 1880 or Agnes Jaimeson (d 1943) the wife of Alexander`s elder brother, Robert, 1st Baron Lyle of Greenock. A further complication arises from the fact that Harrington Mann, a successful portrait painter and one of Lavery`s Glasgow associates, produced a portrait of Mrs Park Lyle c. 1910 (National Trust, Barrington Court), this time, the wife of William Park Lyle, also of the sugar refining dynasty. 12. The Spectator, 23 November 1895, p. 725.13. Anon., `The Scottish School of Painting`, Blackwood`s Edinburgh Magazine, vol CLVII, March 1895, pp. 339, 344.
Los 147
Marshall C. Hutson RHA (1903-2001) FISHERMAN, GLENBURY 1975-76 and ST. FINANS BAY, COUNTY KERRY 1976 (A PAIR) pencil; (1); oil on board; (1) signed lower left and lower right respectively 15 by 22in., 37.5 by 55cm. L Dimensions of oil, 9 by 12.25in. Born in Bulwell, near Sherwood, Nottingham, Hutson trained at the Nottingham College of Art. In 1930 he moved to Cork, where his mother was born, and began teaching at the Crawford College of Art. He eventually became vice-principal of the college, retiring in 1962. He is best known as a sculptor; however the Crawford and National Self-Portrait collection hold paintings by him. Cork City Library holds a bust of Thomas Davis by Hutson, while the Gaiety Theatre boasts both Michael MacLiammoir and Jimmy O`Dea. Other prestigious commissions included: Cork Harbour Board, UCC, and Aer Lingus.
Los 199
Robert Hunter (c.1715/20-c.1803) PORTRAIT OF HARRY HOUGHTON, 1790 oil on canvas signed and dated lower left 30 by 25in., 75 by 62.5cm. P Christies, 1 March 1985, lot 113;The Collection of David White / Elizabeth Guinness;with The Bell Gallery, Belfast;Private collection Crookshank, Anne, `Robert Hunter`, Irish Arts Review Yearbook, 1989/90, Vol. 87, p.169-185 (illustrated p.179) Half-length portrait where the sitter is painted within an oval, a device used regularly by Hunter. This is the latest known portrait by the artist, which is dated 1790.Robert Hunter was the principal portrait painter of the eighteenth century. Little is known about his early life or his family other than he was born in Ulster and studied art under Thomas Pope. Hunter had a very wide range of clients such as Sir Charles Burton, Lord Taaffe, Samuel Madden and Viscount Powerscourt. He contributed six works to the exhibition of the Society of Artists in George`s Lane, Dublin in 1765. He regularly contributed to the exhibition of the Dublin Artists up to 1777, and again, for the last time, in 1788. Hunter was for many years at the head of his profession as a portrait painter until the arrival of Robert Home in 1780. Age may have been another contributing factor to the decline in his productivity. He held an exhibition and sale of his pictures in 1792.
Los 209
Sir William Orpen RA RI RHA (1878-1931) MINIATURE SELF PORTRAIT, 1925 and HUGH LANE AND HIS PICTURES by Thomas Bodkin ink on card; (1); limited edition book; (from an edition of 400); (1) the first signed, inscribed and dated 2.5 by 3.75in., 6.25 by 9.375cm. L Charming miniature self portrait of Orpen showing head and shoulders. With autographed noted, reads: With love, yours ever, William Orpen, London 1925.Hugh Lane and His Pictures, Pegasus Press, for The Government of The Irish Free State, Dublin, August 1932. Limited to 400 copies, pp.72 plus fifty pages of plates and corresponding text. Half green Morocco over marbled boards, with gilt-titled spine. Top edge also gilt. Book measurements, 12.50 by 9.5ins. (2 items total)"
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283284 Los(e)/Seite