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Lot 3404
Oryon Collection hand painted American Civil War metal soldiers, boxed, comprising Union Calvary 1st Division (Gettisburg) 1863 Art 6029., Confederate Calvary 'North Virginia Army' 1863 Art 6030., Union Infantry 'Potomac Army' 1st Division 1863 Art 6031, and Confederate Infantry 21st Regiment 'Mississippi' 1863 Art 6032. (4)
Lot 602
A good collection of vintage 20th Century cigarette cards to include full sets, sets to include Wills Cinema Stars, Allied Army Leaders, Musical Celebrities, Time and Money and large cards for Old Inns, Chairman Cigarettes Modern Miniatures, Players Cigarettes Aviary and Caged Birds, Park Drive Stars Of Screen and Stage, Players large cards Cats, British Butterflies, Black Cat Cigarettes large School Emblems,
Lot 56
Jack Butler Yeats RHA (1871-1957)A Lament for Art O'Leary (1940) A set of six illustrations, pen and ink, variously sized 14 x 18.4cm up to 20 x 16cm (5½ x 7¼'' to 7¾ x 6¼'')Variously signed, signed with monogram and with monogram stamp;Together with a 2nd edition, Cuala Press. A Lament for Art O'Leary. Translated from the Irish by Frank O'Connor, with six illustrations by Jack. B. Yeats RHA. Reprint, 1971, for the Irish University Press, T.M. MacGlinchey Publisher, Robert Hogg PrinterProvenance: With Theo Waddington, Irish Art Project.Literature: Hilary Pyle, The Different Worlds of Jack B. Yeats, Irish Academic Press, 1994, Catalogue No.1474, illustrated p.203, 204 and 205.Jack B. Yeats’s illustrations to the Lament for Art O’Leary are among his most expressive and memorable drawings. Cuala Press brought out a limited edition of 130 copies of Frank O’Connor’s translation of the 18th century poem in 1940 for which Yeats supplied six pen and ink illustrations. These were hand-coloured by Eileen Colum and Kathleen Banfield of the Cuala Press in the printed edition.The poem is the celebrated Lament of Eileen O’Connell composed in Irish for the wake of her husband Art O’Leary who was murdered on the orders of the local magistrate Abraham Morris in 1773. O’Leary came from a landed Catholic family and served as a captain in the Hussars of the Austro-Hungarian army. The couple lived in Rathleigh House, near Macroom, Co. Cork. Eileen was of the O’Connell family of Derrynane, Co. Kerry and an aunt of the future politician, Daniel O’Connell. Preserved orally for generations, her Lament is one of the last manifestations of the bardic poems of Gaelic Ireland. Frank O’Connor in his introduction to the poem, writes that the lament comes from ‘a world where the mind has no yesterday and no tomorrow’. Yeats’s drawings capture the despair and grief of Eileen as she mourns the violent death of her young husband. She searches for his body, grieves for him and buries his corpse. Yeats does not illustrate specific lines but creates a parallel vision of the tale in his epic pen and ink images. O’Connor described them as ‘noble drawings’ and they evoke the elegance and graciousness of the aristocratic heritage of the protagonists as well as the dramatic scenery of the Boggeragh mountains near Macroom where the events take place. The first illustration depicts O’Leary on his horse, galloping in the mountainy landscape of north Cork. He cuts an impressive figure, despite his evident youth. Holding his riding crop aloft, he wears a military style jacket and elegant hat, a reference to his status as an officer in the Austrian army. His silver hilted sword is prominently displayed. Art’s swaggering pose, which antagonised Morris, is mirrored by that of his horse who holds its head and neck erect adding to the noble demeanour of its young rider. This image is contrasted by the next illustration of Eileen walking upright and proudly with her two sons. The infant is tied by a shawl to her shoulders while his brother walks beside her. Behind them are high mountains and little cottages. The isolation of the widow and children after O’Leary’s death is emphasised in the lament where Eileen notes that there ‘hangs no throng of mourners’ as disease has decimated the people and prevented their attendance. The third illustration shows O’Leary’s horse standing at the gateway with its saddle empty. The bay mare’s return without its mount alerted Eileen to the fate of her husband and prompted her to search for him. One of the most impressive and unusual illustrations is that of Eileen on horseback as she goes in pursuit of O’Leary. Her locks runs wild, her arms are astray and her face and hair become subsumed into the surrounding sky. The rearing horse accentuates the wildness of her emotions. The treatment of the image encapsulates the inner grief and turmoil as expressed in the lines ‘On me is the griefThere’s no cure for in Munster. Till Art O’Leary riseThis grief will never yield That’s bruising all my heart, Yet shut up fast in it. ‘It also refers to the anger and vengefulness that Eileen expresses towards Morris, the man responsible for O’Leary’s death, who is referred to as ‘the bandy-legged monster, May he rot and his children’.In the last two illustrations Eileen is shown grieving over the body of her husband and carrying his coffin to be buried in the deserted cemetery of Cill na Martra. In the former, she finds O’Leary’s badly injured body where it had fallen from the horse at Carrignanimma. She kneels over the corpse, blood pouring from her hands. To the right the strange form of a standing stone, covered by O’Leary’s jacket, looks like a shroud or a spirit, suggestive of the reverberations of this violent death. The sweet expression of the woman’s face is contrasted by the contorted and ravaged features of the cadaver below her. The horse grazing in the background and the surrounding lush vegetation refer to the continuity of natural life, now lost forever to O’Leary. In the final illustration Eileen carries her husband’s coffin to an isolated cemetery surrounded by high mountains. Her body is contorted under the weight of the casket, her physique turned into a sinuous line expressive of sorrow. The empty scene of a young woman burying her dead in a remote landscape recalls imagery and accounts of the Great Famine. Visually it links the end of the Gaelic nobility to the next cataclysmic event in Irish history. The darkness of the Lament and the imagery it evokes is mitigated by the subtle manner by which Yeats has drawn the illustrations. Strong thick strokes of ink are counteracted by delicate hatching lines that convey shadow and movement, resulting in lively fluid drawings that exude energy and vigour. Yeats conveys a version of Eileen’s story that works independently of the text, offering the reader a visual sequence that is vivacious and contemporary. Róisín Kennedy May 2019
Lot 273
English School, 19th Century Portrait of an officer, believed to be Lieutenant Colonel John Dumaresq (1759-1804) of the Ninth Battalion of the Army of Reserve of Worcester, three-quarter length oil on panel 26 x 19cm (10 x 7in) Provenance: By descent within the family of the sitter Oil on panel. The paint layer is in a stable condition. There is a small paint loss on the sitter's left hand sleeve. There are matte patches on the sitter's jacket and around the collar, through the glazing it is difficult to tell if this is later retouching or reworking by the artist - there doe snot appear to be an obvious damage which the paint is covering. The mitres of the frame are opened and there are numerous losses to the decorative moulding and gilded surface.
Lot 279
§ Raymond Woog (French, 1875-1949) Portrait of Brigadier-General John Nicholson (1863-1924) in profile, head and shoulders, in uniform, a cane under his arm signed with the initial "W" and date of 1917 on the reverse on a plaque oil on canvais laid to board 79 x 65cm (31 x 25in) Provenance: By descent within the family of the sitter Raymond Woog was a pupil of the Symbolist painter, Gustave Moreau. He was in the Army from 1915-1918, and spent six months in Flanders, based in Le Havre, with the rank of Lieutenant, as Attaché to the military mission of the British Army. Woog painted portrait sketches of the English and French soldiers at that time. The sitter in the present portrait, Brigadier-General John Sanctuary Nicholson, CB CMG CBE DSO (1863-1924), was sent to the British colony of Natal (1843-1910), South Africa, in 1894. He commanded the Matabeleland Division of British South Africa Police in Rhodesia and later became its Commandant-General. He served in the Second Boer War (1899-1902) for which he was created a Companion of the Order of Bath in 1902. Nicholson was promoted to Brigadier-General in 1916 and created a CBE for his work during the First World War. He retired from the Army in 1920. Oil on canvas which has been laid to board. The canvas had suffered a large tear which runs along the right side and across the top edge. This is presumably the reason why the painting has been put onto board. The board has a concave warp. There are retouchings along the tear and uneven fill. There are a few other localised areas of retouching. The varnish is thick and yellowed. There is a knock to the frame at the lower edge, otherwise it is in a good condition.
Lot 3048
A rare British Standard Issue Pattern Mark IV kukri, by The Wilkinson Sword Company for issue to British Army Gurkhas in the Far East, the 30cm blade marked 51 WSC, ebonised two-piece grip, leather scabbard with karda and chakmak, 45.5cm long overall, c.1951 Condition Report: the silver rivet is slightly raised to a dome, please refer to additional images, we would ask buyers to use one of our recommended carriers for postage, we cannot offer in-house postage for knives and weapons
Lot 3112
Medal, Napoleonic Wars, Waterloo Medal, named to William Dawson 18th Regiment Hussars, minted after designs by Thomas Wyon the Younger (1792-1817), lacking loop and ribbon, established in 1816During the Napoleonic Wars the regiment took part in the Hundred Days landing at Ostend in April 1815. It charged the centre of the French position at the Battle of Waterloo in June 1815. It then remained in France as part of the Army of Occupation brigaded with the 12th Royal Lancers under the overall command of Major-General Sir Hussey Vivian. Later being disbanded in Ireland in 1821.
Lot 3154
Medals, World War Two: 1939-1945 War Medal, ribbon en suite; 1939-1945 Defence Medal, ribbon en suite; 1939-1945 Stars, ribbons en suite (2); Africa Stars, three with clasps: North Africa 1942-43, 1st Army & 8th Army, ribbons en suite (4); Atlantic Stars, one clasp: France and Germany, ribbons en suite (2); France and Germany Star, ribbon en suite; Italy Star, ribbon en suite; Pacific Star, ribbon en suite; Burma Star, ribbon en suite; copies of Aircrew Europe Star, stamped Copy to verso, ribbons (2); a four-ribbon bar, comprised of War, Defence, France and Germany, 1939-1945; spare War and Defence ribbons, [19]
Lot 3246
Napoleonic Wars and Later - The Total Defeat & Flight of he French Army (at the Battle of Waterloo) Commanded by Napoln. Bounaparte [sic, Bonaparte]; June 18 1815, Published by Rd. Holmes Laurie, June 4 1819, London, hand-coloured engraving, 29cm x 44cm; after J. Atkinson (early 19th century), Landing of the British Army under Sir Ralph Abercrombie (sic) in Egypt, Printed at Ackermann's Lithographic Press, [London 1817], lithograph, 22cm x 32cm; a pair of early 19th century aquatints of the British campaign in India; further 19th century coloured prints of army uniforms, etc, (10)
Lot 3263
The Victorian Army - 2nd Bn 10th Regiment of Foot (later (Royal) Lincolnshire Regiment) - an interesting archive of documents and a paybook relating to the service of Colour Sergeant Patrick Thomas Mulrenan (1840-1880): sergeant's chevrons, sleeve crown, crossed flags; parchment discharge certificate 14/10/1879; Royal Hospital, Chelsea, out pension certificate for 16d per diem for life; Marriage certificate 4/9/1878 to Julia Spring of Bethnal Green; copy death certificate, Leicester 4/6/1880 and Regimental account book. Sgt. Mulrenean.s service was: enlisted Birr 25/9/1858, to Cape Town 22/2/1860, and India 16/1/1865, twice reduced to the ranks from Sergeant (8/1861 & from Corporal 10/4/1863, retired after 21 years' service 14/10/1879 (qty).P T Mulrenan joined when the 2nd Bn., 10th Foot was being raised in Ireland that year.
Lot 1161
A Victorian army officers dress sword, with part fullered engraved blade, with wire bound shark skin grip, with steel scabbard with suspension loops, the blade 83 cm. CONDITION REPORT: The blade is in good order and appears to be free from any large rust spots. There are small rust spots and dirt around the ricasso. The guard has lost its silver plating . The shark skin grip and wire bindings are in good order. The ricasso has a Star of David and to the centre it is struck proved. There is no makers marker. The scabbard is rusty and has lost the majority of its patination. It has two suspension loops which are intact. There is no historical provenance with this item.
Lot 18
A collection of 1940's sheet music, mostly from movies & stage productions, 50 pieces in total. To include: Bing Crosby - My Mother's Waltz, If You Please (Dixie), Going My Way and I Promise You (Here Come The Waves), Walt Disney "The Three Caballeros" - You Belong To My Heart, 3 songs from Irving Berlins "This is The Army", Bing Crosby & The Andrews Sisters - Along The Navajo Trail and Gracie Fields - Chi-Baba Chi-Baba.
Lot 2338
Cabot Watch Company (CWC) W10 gentleman's British Army military wristwatch with luminous hands and hour markers, Arabic numerals, railroad minute track, black dial, stainless steel case marked to the back 'W10/6645-99 5415317 78049 91' beside ministry broad arrow and quartz movement, on NATO style canvas strap, case diameter 35mm.
![* Stanislav Vladimirovitch Plutenko [b.1961]-Moscow Island,:-signed and darted 1996further signed, inscribed and dated 1996 o](https://cdn.globalauctionplatform.com/35b7cbf0-a5e0-4f46-b584-aa42016ee82d/5fee6b9c-a043-422f-9a29-aa4f00d7f05d/468x382.jpg)
Lot 173
* Stanislav Vladimirovitch Plutenko [b.1961]-Moscow Island,:-signed and darted 1996further signed, inscribed and dated 1996 on the reverseoil on canvas117 x 146cm*Biography Stanislav Vladimirovitch Plutenko was born in Moscow. He sketched and painted throughout his life and after army service became a designer and art student and exhibited in Moscow at the Red Star Gallery in 1988. Further showings and exhibitions have been held at Interart '89 in Sweden, Chicago and Germany. From 1992 he has been a regular exhibitor at various Moscow shows.
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116692 item(s)/page