John Shinnors (b.1950) Rooks Go West, Scarecrows Oil on canvas, 167.5 x 172cm (66 x 68") Signed and inscribed with title verso Exhibited: "John Shinnors - Twenty-one Paintings" Exhibition, The Taylor Galleries, Dublin, 2000, where purchased by current owner Born in 1950, Shinnors studied at the Limerick School of Art for a short period under Jack Donovan, and taught for several years before taking up painting full time in the 1980s. He has exhibited all over Ireland and his paintings are found in many public collections including IMMA, The National Self Portrait Collection of Ireland and the University of Limerick. Throughout his painting career he has been interested in representing and re-interpreting a wide repertoire of motifs, including cows, birds, kites, clothes, lighthouses and scarecrows. A restrained palette is characteristic of his work at this time, and through this palette he explored many variations of light and dark, and depiction of forms in shadow and light. At first glance, like many of his works, this painting has an abstract look but gradually recognisable shapes and forms reveal themselves as those described in the title. Painted in his characteristic colour combinations, the monochromatic shades are illuminated by a warm golden light coming from the right, or east if we are to read the painting like a field and the light as the sun rise. The black areas of the painting can be seen as both opaque surfaces, an end in themselves, and as voids through which other areas and levels of the painting are almost within reach. The subtle variations within the black tones - Shinnors has said he uses five blacks - are difficult to see in reproduction but the artist also uses thin touches of strong green, hardly visible to the casual observer but providing an intriguing contrast within the black space. Surface textures vary, building up the painting layer by layer in a quasi-collage composition. Yet the motifs are coherently placed, with shape and form balanced in relation to each other and across the large scale of the painting as a whole. Aidan Dunne, who has written extensively on the artist, noted: "It is as though each painting is a site at which disparate things conspire to create a composition, a fleeting event that is caught, just about, in the twinkling of an eye, and pinned there by the artist"
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Seán Keating PRHA (1889-1977) 'Pipes and Porter' Oil on canvas, 101.5 x 127cm (40 x 50") Signed Provenance: A Dublin Collection Exhibited: RHA, Annual Exhibition 1915 Cat. No. 78 Having won the coveted RDS Taylor Award for painting in 1914, Seán Keating moved to London to work as a studio assistant to William Orpen. The First World War had begun, and as conscription beckoned, Keating decided to return to Ireland in late 1915 or early 1916. Orpen, already a well-renowned portrait painter, remained in London and accepted an appointment to the Army Service Corps. He was sent to France under the war artists' scheme in 1917, where, initially as a Second Lieutenant and later a Major, he produced some of the most extraordinary and thought provoking images of his entire career (1). Meanwhile, Keating returned to Dublin, joined the Gaelic League (Conradh na Gaeilge), and began to make a series of paintings that placed the west of Ireland in general, and the Aran Islands in particular, at the centre of his personal sense of national and political identity. He sought to make his nationalist allegiance clear in his work, but arrest for sedition was commonplace, and as a result, his use of symbolism or allegory can be understood in the context of the socio-political conditions at that time. The best known of those images is Men of the West, a painting that Keating began in 1915, but completed and exhibited in 1917, the year after the Easter Rising had taken place(2). An allegorical work, it features a self-portrait of the artist holding the Irish tri-colour flag, and a double portrait of his brother, Joe Hannan Keating, who was then a member of the IRB and the Irish Volunteers, and both are dressed in traditional Aran Island clothing. But there was an image that prefigured Men of the West. It was shown in the RHA in 1915 and it was titled Pipes and Porter(3). An extraordinary painting, Pipes and Porter features a self-portrait of the artist with his ubiquitous beard, together with a portrait of his aforementioned brother, Joe, an unnamed young boy, and an unidentified piper(4). A castle tower dominates the background, while the lower landscape is dotted with several white-washed and thatched cottages, and the sun is setting in the western sky. Keating, his brother, and the young boy regard their audience with confidence. But the piper's gaze suggests that he is lost in concentration of his tune. He is playing the bagpipes, also known as the 'war pipes' because they were 'played in medieval Ireland to lead soldiers or sporting groups' (5). Importantly, in terms of Keating's artistic objectives, 'both the uilleann pipes and the war pipes had political links' in the early years of the twentieth century. 'Thomas Ashe was a well-known war piper', while 'Éamonn Ceannt played the uilleann pipes and was leading member of the Dublin Pipers' Club' (6). The war pipes that feature in Pipes and Porter appear to be 'an occasional set' that may have been made by 'MacCullough' of Belfast and seem to have 'two drones, beaded and combed like Highland pipes' with 'plain projecting mounts on the drones, and metal ferrules' (7). The colour combination illustrated on the piper's conspicuous hat may well refer to his place of birth, and/or his national sporting allegiance. Black and amber are the Gaelic Athletic Association (GAA) colours for Kilkenny. While the GAA was not a political organization, several members fought in the Easter Rising in 1916 (8). Although he remains anonymous at present, the man playing the 'war pipes' may have been a piper that Keating knew from among those that played at nationalist gatherings and marches in Dublin, if not from his own branch of Conradh na Gaeilge, or who perhaps played at GAA matches. Thus, far from being a simple scene of the west of Ireland, Pipes and Porter has symbolic meaning, which is amplified by the presence of the artist, and his nationalist brother, Joe, both of whom are dressed in the traditional Aran Island clothing that was to feature in Men of the West a little time later. At the same time, the realities of the socio-political conditions are evident in the painting. Irish artists were physically and geographically restricted by the rules of the Defence of the Realm Act (DORA), introduced to Ireland in 1914, as a result of which they were not allowed to paint the Irish coastline, or harbours, without written permission from the authorities. Therefore, there is little by way of a detailed coastline in Pipes and Porter or in Men of the West. Keating was a painter of honest, no nonsense portraits. It was a skill that provided him with a constant source of income throughout his life. He did not believe in flattering his models, which meant that his insightful honesty got him into trouble at times. Trained by Orpen in the necessary techniques, he never forgot to include a fleck of light in the eyes, a detail that gave life and personality to his portraits and that is seen to excellent effect in Pipes and Porter. Furthermore, although it is an early work, the painting also demonstrates Keating's expertise as a painter of still life, landscape, sky scape, and the detailed texture of clothing. What of the porter to which the title of the painting also refers? It would appear that necessity was the cause of invention, and porter, a type of beer, was served in any type of vessel that came to hand. The glass is empty, but is there porter in that mug, or does it contain a cup of tea? Keating was having a little fun with his title and content. He continued to use such puns throughout his career, evident, for example, in Good Old Stuff (1928), a painting that is also featured in this auction catalogue (lot 86). The artist typically signed his paintings using his surname in Irish or English, but he wrote his full name on the bottom right of Pipes and Porter. This detail suggests that the painting, which has not been seen in public for many years, may have been a commission in 1915, although the identity of the likely patron is not known at present. © Dr Éimear O'Connor HRHA Research Associate TRIARC-Irish Art Research Centre Trinity College Dublin October 2013. (1) See Bruce Arnold, Orpen: Mirror to an Age, (London, 1981), pp. 307-380. (2) Collection: The Dublin City Gallery The Hugh Lane. (3) Keating is known to have painted two images featuring pipes. The first, Pléaráca in Arainn (A Gay Time on Aran)(1913), won the Orpen Composition Award at the Dublin Metropolitan School of Art in 1913. It would appear that this painting did not include a self-portrait of the artist. It was described some years later as 'a rather large painting…depicting an Aran piper in full “war paint”…playing lustily on his Píob Mor (large pipes) for the delectation of several of his friends, who, to judge by the expression on their faces, are thoroughly enjoying themselves', John J. R. O'Beirne, 'A Coming Irish Artist: The work of John Keating' in The Rosary, Vol. 21, 1917, pp. 571-577. (4) Information on the identity of the piper and the young boy would be gratefully received by the author on info@eimearoconnor.ie (5) The author would like to acknowledge and thank Nicholas Carolan, Director of the Irish Traditional Music Archive, 73 Merrion Square, for his help and advice with regard to the pipes illustrated in Pipes and Porter. See www.itma.ie (6) The author would like to acknowledge and thank Emmett Gill, Administrator, and Terry Moylan, Archivist, Na Píobairí Uillean, 15 Henrietta Street, Dublin 1, for information pertaining to Thomas Ashe and Éamonn Ceannt, and the political significance of the uilleann pipes and the war pipes in 20th century Ireland. See www.pipers.ie (7) With thanks to Nicholas Carolan and Seán Donnelly. MacCulloughs opened premises in Dublin in the 1920s, and in 1926 the company published MacCullough's Irish War Pipe Tutor and Tune Book, written by Liam Mac Andreis (William Andrews), leader of a pipe band at Trinity College Dublin. See Adam Sanderson on (8) Coincidentally, James Nowlan, a native of Kilkenny, served twenty years, from 1901 to 1921, as president of the GAA. He was interned in England after the 1916 Easter Rising. Nowlan was a supporter of Sinn Fein and an alderman of Kilkenny Corporation for many years. See
** A DIRK FOR A MEMBER OF THE EGYPTIAN CLUB, CIRCA 1798 with curved blade doubled-edged towards the point, etched and gilt with flowers, foliage, and elaborate trophies-of-arms on a blued panel over three quarters of its length, gilt-brass hilt comprising small outer-guard pierced and chiselled with a crocodile, faceted back-strap rising to form a scaly crocodile head, chequered grip (cracked, small chips), gilt knuckle-chain (reattached), in its leather scabbard with brass mounts comprising locket and middle band (chape missing) 31 cm; 12 ¼ in blade Two days after the battle of the Nile, on the night of 3rd August 1798, the Captains of the fleet met on board the Orion, and inaugurated the `Egyptian Club`. A document was then drawn up, and signed by all present, inviting Sir Horatio Nelson to accept the gift of a sword and to have his portrait painted for the club. Nelson`s gold sword was ordered through Rundell & Bridge. There was a rumour in London that the eyes of the crocodile were to be of diamonds and the scales of amethysts, emeralds and other precious jewels but this proved unfounded. Nelson`s `Egyptian Club` sword was sold at Christies on 12th July 1895 from the collection of Lord Bridport for £1,080. It was stolen from Greenwich Hospital in 1900 and never recovered. Little more is known of the `Egyptian Club` who never seem to have met. The promised portrait was never completed although there was a story that a Neapolitan artist was invited to breakfast with the Captains but felt unworthy of the commission. Nelson`s own sword was distinguished by an enamel plaque set into each side of the grip, one showing Lord Nelson`s arms and that on the reverse allegorical figures representing Britannia and Africa. On the guard was an enamel plaque representing the Battle of the Nile and a list of the captains who served: Captain Sir F. Berry, Vanguard; Captain T. Trowbridge, Cullodon; Captain R.W. Miller, Theseus; Captain A.J. Ball, Alexander; Captain Thomas Lewis, Minotaur; Captain Sir T.B. Thompson; Leander; Captain B. Hallowel, Swiftsure; Captain David Gould, Audacious; Captain John Peyton, Defence; Captain S. Hood, Zealous; Captain James Saumarez, Orion; Captain Thomas Foley, Goliath; Captain G.B. Westcott; Majestic; Captain H.D.E. Darby, Bellerophon; Captain S.M. Hardy, Mutine. Captain Westcott had been killed at the action. The present dirk forms part of a very small group of dirks that were almost certainly made for members of the Egyptian club. Another, formerly in the collection of Nelson`s prize agent, Alexander Davison, was sold Sotheby`s, London, 21st October 2001, lot 14.
** A FINE ENGLISH MORTUARY SWORD, SECOND QUARTER OF THE 17TH CENTURY with broad double-edged blade stamped `Farara` within a short fuller on each face and with traces of a large running wolf mark, symmetrical iron hilt comprising a pair of langets chiselled with foliage, basket-guard pierced and chiselled at the base with scrolling tendrils terminating in monsterheads and mulberry fruit, decorated on each side and at the base of the knuckle-guard with a wreath filled with a portrait profile, the front and rear guards each interrupted by a further portrait rondel and each joined to the knuckle-guard by a pair of scrolling bars, chiselled ovoid pommel decorated en suite and retaining an early fishskin-covered grip bound with plaited wire and `Turk`s heads 74.1 cm; 29 1/4 in blade
** A FINE PAIR OF18 BORE DUTCH SILVER-MOUNTED FLINTLOCK LONG HOLSTER PISTOLS, CIRCA 1710, ENRICHED FOR PRESENTATION TO MUSTAFA AGHA 1235 AH (CIRCA 1819/20) with tapering barrels chiselled with foliage at the muzzles, long flats with brass fore-sights, decorated over the breeches with foliage enclosing a chiselled brass grotesque mask and stamped with Utrecht town mark (rubbed), inlaid with a brass line on each side, brass lined vent, moulded tangs incorporating the back-sights, stepped brass locks signed ahead of the cocks, chiselled with foliage on the tails and beneath the pans (rubbed), fitted with chiselled steel cocks decorated with scrolls carrying a grotesque profile, and chiselled steels, full stocks profusely inlaid over their full surface with silver wire scrolls enriched with pellets and flower heads, a brief inscription on the left of the breeches (minor lifting, small losses), full silver mounts comprising side-plates pierced and chiselled in low relief with scrolling foliage and flowers carrying a deity borne in a chariot and a gigantic bird-of-prey, spurred pommels decorated with further designs of foliage and portrait profiles, the butts each with a portrait profile in a foliate frame, trigger-guards decorated en suite, crowned vacant escutcheon carried by a pair of winged figures, a pair of faceted ramrod-pipes, moulded fore-end caps, and silver-tipped wooden ramrods 33.5 cm; 13 ¼ in barrels (2) The inscription reads `sahib devletlu mustafa aða sene 1235` (Owner, the fortunate Mustafa Agha, year 1235), this corresponds with the period of the pistols embellishment. This is possibly Mustafa Agha Barbar (d. 1834), Governor of the Tripoli district in the Ottoman province of Syria, in the first three decades of the 19th century. Barbar was a charismatic and powerful figure who fell foul of the Ottoman authorities and was restored to favour through the diplomacy of Muhammad `Ali, Governor of Egypt. He extensively remodeled the fortress in Tripoli, giving it its present form, and built the huge fortress in the village of Iaal, strategically located in the hills behind Tripoli. See I. Tannus al-Khuri, 1957. For an account of Gerrit I, II and III Lasonder see A. Hoff 1978, pp. 123-126, C. A. Hartmans 1949-51, pp. 208-228 and the same author 2006, pp. 312-313.
A .600 CALIBRE GERMAN BUTT RESERVOIR AIR RIFLE BY BOSLER, DARMSTADT, CIRCA 1750 with swamped octagonal sighted barrel engraved with scrolls over the breech, engraved tang, engraved lock decorated with a hound, fowl and a wild boar on the tail, signed and decorated with a huntsman and his hound beneath the pan, fitted with engraved dummy cock (the action inoperative), double set trigger, figured walnut half-stock impressed `128`, carved in low relief about the mounts and the tang, the butt with carved raised cheek-piece decorated with scrolls (cracked), engraved gilt-brass mounts comprising side plate decorated with a hunting scenes in a rococo framework, butt-plate incorporating the pump aperture (cover missing), decorated on the tang with a portrait profile and numbered `28`, trigger-guard with Diana the huntress, and a pair of ramrod-pipes (crowned escutcheon missing), horn fore-end cap, and horn-tipped ramrod 90 cm; 35 ½ in barrel Three makers of this name are recorded in Darmstadt, Hesse specialising in air weapons during the 18th century. Two were Hofbüchsenmacher to the Landgraves of Hesse. Two other air guns by this family, formerly in the hunting room at Jagdschloss Kranichstein and latterly in the Neal collection, were sold Christies 9th November 2000 and 25th October 2001 Lots 129 and 131 respectively. For a discussion of this maker, and his father, see A. Hoff 1972, pp. 40-59.
'A Society of Architects' The Builder's Magazine, or a Universal Dictionary for Architects, Carpenters, Masons, Bricklayers, etc..., 1800, two volumes including plate volume with 185 plates (foxing, pencil annotation and drawings), half calf (well worn, board detached); Nicholson (Peter), The Carpenter's New Guide ..., 1827, 4to, portrait frontis, eighty-four plates (foxing) worn binding; Dollman (Francis T), Examples of Antient Pulpits..., 1849, 4to; 30 plates (some loose, foxing), original cloth; Newbery (Robert), Gleanings from Ornamental Art of Every Style..., 1863, 100 plates (many loose, foxing), original cloth (5)
Baines (Edward) History of the County Palatine of Lancaster, 1836, four volumes, folding maps, numerous engraved plates and pedigrees (as called for except portrait of William Stanley), a.e.g., half morocco (worn); Atlas Volume to accompany Baines' History, Directory & Gazetteer of Lancashire, 1824, 8 single page plans and four folding maps and plans, folding 'Population Returns of England', calf (worn) (5)
![Drayton (Michael)
[Poly-olbion], A Chorographicall Description of all the Tracts, Rivers, Mountains, Forests, and other Parts](http://lot-images.atgmedia.com/SR/10041/2883729/47-2013112811720_468x382.jpg)
Drayton (Michael) [Poly-olbion], A Chorographicall Description of all the Tracts, Rivers, Mountains, Forests, and other Parts of this Renowned Isle of Great Britain ..., 1622, Marriott, Grismand and Dewe, folio in sixes, two parts in one, second title issued without Drayton's name, hand-coloured engraved title, hand-coloured portrait, thirty hand-coloured double-page maps, hand-coloured head-pieces, tail-pieces and initials, calf (re-backed) [Skelton 13]
[Parsons (Robert) A Brief Discours contayning certayne Reasons why Catholiques refuse to goe to Church, Written by a learned and vertuous man to a friend of his in England .., 1580, Doway; John Lyon, 8vo., [16], 70 leaves (ESTC gives [17] so may lack a leaf before or immediately after the title), title inscribed 'Joh Cosin 1669', sheep, (worn, upper board detached) Milton (John), Paradise Lost, A Poem, in Twelve Books, 1764, portrait frontis, twelve plates, calf (worn); Southey (Robert), Poems by Robert Southey, 1797, advert leaf present, half calf (worn); Wordsworth (Christopher), Greece, Pictorial, Descriptive, and Historical, 1882, engraved plates, a.e.g., calf prize binding (faded, unusual odour); with six others (10)
English School 19th Century The country angler portrait of a fly fisherman seated in a landscape Oil on canvas 91.5 x 72cm; 36 x 28¼in ++Relined some retouching mainly to margins and upper right corner one or two other smaller areas a small area of paint loss lower right and one or two other small flecks of paint loss
Attributed to Sir Thomas Lawrence P.R.A. (1769-1830) Portrait of Admiral Sir Edward Codrington KCB (1770-1851) Black white and red chalk on buff paper 30 x 24cm; 11¾ x 9½in This drawing is possibly related to a portrait of the Admiral in oils by Lawrence painted in 1826 Admiral Sir Edward Codrington was a hero of the Battle of Trafalgar and the Battle of Navarino. His family home was at Winterslow Nr. Salisbury ++One or two minor blemishes good condition
Thomas Francis Dicksee (1819-1895) Portrait of Master Bateman Signed titled and dated Feby. 8th 1855 on artist’s labels verso Oil on panel oval 28 x 22.5cm; 11 x 9in Provenance: Artist’s invoice verso inscribed 7 Russell Pl Fitzroy Sq. Received of Henry Bateman Esq. the sum of Twenty one pounds for painting a small head size portrait of Mastr. Bateman as per commission ++Some fine paint separation one or two small areas of retouching
After Guido Reni Portrait of Beatrice Cenci Stamped verso: Peint par le Chevr ANTOINE CHATELAIN Via di Ripetta No 226 à Rome and also inscribed verso Mr Halford Oil on canvas 62 x 50cm; 24½ x 19¾in An early 19th century copy of the original in The Palazzo Barbarini Rome Provenance: Lots 110-121 The property of a gentleman ++Unlined and canvas slightly loose on stretcher. A small puncture lower left would be enhanced by a light clean
English School late 17th Century Portrait of a gentleman three quarter length standing in a landscape Oil on canvas 91.5 x 73.5cm; 36 x 29in Provenance: Lots 125-133 The Property of a Lady sold by order of her Executors ++Old lining some restoration and retouching some bloom and some surface dirt
After Hans Holbein the Younger Portrait of Thomas More Inscribed Thomas Morus Martyr A. 1535 Oil on panel 20 x 17cm; 8 x 6½in A copy based on the portrait of Thomas More in the National Portrait Gallery Provenance: Lots 125-133 The Property of a Lady sold by order of her Executors ++Some scuffs and flecks of paint loss some retouching panel slightly blowed
Circle of William Dobson Portrait of an officer Signed indistinctly MD; and dated 1641 coat of arms with a lion bearing a Bowen knot Oil on canvas in a carved wood frame 93 x 72cm; 36½ x 28¼in Provenance: Lots 125-133 The Property of a Lady sold by order of her Executors ++Relined some retouching visible under u.v. a largish area upper left and scattered retouchings to face and background inscriptions not fluorescing
Aelbert Cuyp (Dutch 1620-1691) Portrait of a lady aged 26 half length Signed inscribed AE 26 and dated 1642 Oil on panel 64 x 54cm; 25¼ x 21¼in Provenance: Lots 125-133 The Property of a Lady sold by order of her Executors ++A little retouching to panel joins and margins showing under u.v. otherwise good condition
Manner of Cornelius Johnson Portrait of a gentleman and a portrait of a lady in painted ovals A pair both bearing inscriptions and dates Both oil on canvas Each 76 x 63.5cm; 30 x 25in (2) ++Both relined he with appearance of having been exposed to heat affecting surface and varnish and also an old repair upper centre
Sir Joshua Reynolds P.R.A. (1723-1792) Portrait of Mrs. Latitia Sparrow (1746-1838) Oil on canvas in a carved wood frame 75 x 61cm; 29½ x 24in Provenance: By descent in the family of the sitter until purchased by present owner Literature: David Mannings Sir Joshua Reynolds - A Complete catalogue of his paintings No. 1656 p.421 Leslie and Taylor - Life and Times of Sir Joshua Reynolds Vol. 1 Ch. IV p.266 We are grateful to David Mannings for his assistance in cataloguing this lot on the basis of a photograph Mrs. Sparrow was the only daughter of Thomas Popham Esq. and Sara of Bagborough House Somerset. Painted in 1766 appointments with Mrs. Sparrow are recorded in Reynolds~ Accounts Books for May 14th-19th. A payment of 35 gns. is recorded in the Ledgers on 6th June 1767
RALPH FENIMORE. Portrait of Mme Petrova, etching, signed with monogram, the reverse with artist`s label and Brooklyn address verso, Pl. 16 x 9 1/2 in (The sitter was an actress and star of Vaudeville.. She left the film industry in 1918, but continued to appear in Broadway productions for some years after)
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