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Lot 841
A small Vienna type regulator wall clock: the eight-day duration, weight-driven movement with maintaining power, a dead-beat escapement and wood rod pendulum with large brass bob, the round white enamel dial having black Roman numerals, decorative blued steel hands and a cast brass bezel, the walnut case having a stepped pediment top, integral pillars to the corners, a shaped glazed trunk door and inverted bell-top shaped base, height 87.5cm.
Lot 833
A French alabaster portico mantel clock: the eight-day duration movement within the pendulum bob, the pallet crutch set on a fixed pin to the base below, striking the hours and half-hours on a bell with an outside countwheel, the pendulum rod having three steel rods set within a gilded cast brass plate with stylised swans to the lower part, the cast ormolu dial with raised floral decoration, black Roman numerals and blued steel moon hands, the alabaster portico case with two tapered pillars seated on a rectangular base with a moulded plinth on bun feet, the flat-topped pediment with an ormolu moulding set below depicting a floral swag, height 56cm.
Lot 842
M.Wilde, Wakefield, a mahogany longcase clock: the eight-day duration movement striking the hours on a bell, the brass break-arch dial having a raised chapter ring engraved with black Roman numerals and Arabic five-minute outer numerals, the centre with engraved decoration, subsidiary seconds dial and date aperture, the mahogany case having boxwood stringing, decorative fan inlay to the four corners of the base, a shaped top to the trunk door, three-quarter clustered pillars to the trunk, the hood having a swan-neck pediment with three brass ball-and-spire finials, brass paterae and full pillars with cast-brass capitals, all standing on bracket feet, height 233cm (inc. finial)* Biography Micheal Wilde is recorded as working in Wakefield from circa 1765 until his death in 1811 with his son, also Michael, recorded working from before 1838. Various longcase clocks are known signed by both makers.
Lot 836
Parkinson and Frodsham, a mahogany musical bracket clock: the eight-day duration, five-pillar, double-fusee movement having border engraving to the backplate and signed Parkinson & Frodsham, Change Alley, London, striking the hours on a bell and setting off the musical box within the base at each hour, also operating at will via levers to the side of the case, the round white enamel dial having black Roman numerals and blued steel moon hands, the Romano-Egyptian style mahogany case to the design of Thomas Hope, with tapering fascia flanked by fluted tapering columns, the gadrooned pediment surmounted by a carved wood pineapple finial, and with anthemion decorated corner finials, with ebonised stringing inset to the top beaded moulding, standing on a rectangular base housing the musical movement, with scrolls to either end, a broken-pediment base and standing on gadrooned feet, height 51cm. * Biography Parkinson & Frodsham are recorded working at Change Alley, London from at least 1828 until 1842, having been 'established 1801', and thereafter at Budge Row, London until the cessation of the business in 1947.
Lot 838
Tomlin, Royal Exchange, London, a mahogany bracket clock with matching bracket: the eight-day duration, double-fusee five-pillar movement with anchor escapement, striking the hours on a bell, with pull repeat and a strike/silent lever operated through the side of the case, the backplate engraved with oriental style floral and scroll engraving, the eight-inch round white enamel dial having black Roman numerals, five-minute outer numerals and signed Tomlin, Royal Exchange, London, and with decorative blued steel hands, the mahogany case having a full opening front door with inset brass bezel and brass edging, the bell-top having a cast-brass finial to the top block, four further matching finials to the four top corners, and brass moulding, with brass carrying handles to each side above glazed panels and standing on four brass bracket feet, complete with a matching mahogany and brass wall bracket with lockable key tray, height 53cm (76cm including bracket)* Biography Edward Tomlin is recorded working at the Royal Exchange having been admitted to the Clockmakers Company in 1768 until 1798. A bracket clock signed by him is illustrated in Cescinsky & Webster English Domestic Clocks Fig. 359 page 315, published 1914 by George Routledge & Sons. Examples of both clocks and watches by Tomlin are displayed in the Science Museum, London and Peiping Museum.
Lot 830
A French Victorian gilt-metal and porcelain mantel clock: the eight-day duration movement striking the hours and half-hours on a bell with an outside countwheel, the backplate stamped with the serial number 4774, the round porcelain dial decorated to the centre with a scene depicting a river running past a rural home and having black Arabic numerals and fleur-de-lis brass hands, the gilt-metal cast case with various mounts to the front, with flying pillars to each side having decoration matching that on the dial and surmounted by a porcelain urn with gilt-metal top, height 42cm.
Lot 834
A Victorian skeleton clock: the eight-day duration, single chain-fusee timepiece movement striking once at each hour on a bell, passing strike, the brass plates in the form of trailing fushcias with cast-brass gilded feet, the decorative silvered dial engraved with black Roman hour numerals and having blued steel spade hands, all standing on an oval grey-flecked marble base with glass dome, height 46 cms (not including dome).
Lot 829
Japy Frères à Paris for Victor Reclus, a gilt-metal and porcelain mantel clock: the eight-day duration movement striking the hours and half-hours on a bell with an outside countwheel, the backplate stamped with the trademark of the roulant blanc maker, Japy Frères, Paris along with that of the clockmaker Victor Reclus, and the serial number 42808, the round white enamel dial having black Roman hour numerals and blued steel moon hands, the decorative shaped gilt-metal case with scroll and floral mounts having pink porcelain panels painted with a decorative floral and musical scene set to the front with two further panels either side below with a matching urn to the top, standing on a shaped gilt-wood base, height 28cm (clock) 32cm (including base).* Biography Japy Freres was founded by Frederic Japy of Beaucount, born 1749, who first made movements for the clock industry at his factory in 1777, becoming the largest and most commercially important clockmaking concern in France. The business continued after his death.Pierre Victor Reclus was both a clockmaker and retailer working in Paris. His daughter Henriette married Louis-Albert Holingue, of Saint-Nicolas-d'Aliermont, in 1875, Holingue being the son of the carriage clock maker Louis Holingue who, along with his brother Jean-Baptiste, supplied Drocourt, Garnier and Bourdin amongst others.
![* Don Vaughan [b.1916]- A Blue Bell Wood:- signed bottom left oil on canvas 29 x 39cm. * Provenance. With RH & CS Glaisyer, C](https://cdn.globalauctionplatform.com/7231fca8-6402-49a2-9f50-a7e100b56e92/862bcce5-cce5-4849-ed67-70b6af365e47/468x382.jpg)
Lot 826
A French ebonised portico clock: the eight-day duration movement striking the hours and half-hours on a bell with an outside countwheel, the multi-rod pendulum having a decorative cast-brass bob, the round silvered dial having black Roman hour numerals, blued steel moon hands and a cast-brass decorative bezel, the ebonised case with four pillars to the corners, each having cast gilt brass capitals, with gilded mounds to the front of the case, top and bottom, and standing on wooden bun feet, height 45cm.
Lot 823
Dupont à Paris, a walnut portico clock: the eight-day duration movement striking the hours and half-hours on a bell with an outside countwheel, the bell stand stamped with the maker's name Dupont à Paris, along with the serial number 4197, the multi-rod pendulum having a decorative cast-brass bob, the round silvered dial having black Roman hour numerals, blued steel moon hands and a cast-brass decorative bezel, the walnut case with four pillars to the corners, each having cast gilt brass capitals, with gilded mounts to the front of the case, top and bottom, and standing on wooden bun feet, height 49cm.
Lot 824
Vincenti et Cie, Paris, a Victorian globe clock: the eight-day duration movement having a replaced platform lever escapement and striking the hours and half-hours on a bell, the backplate bearing the trademark stamp of the maker Vincenti et Cie and numbered 36B, contained in a blue lacquer globe with raised gilt-brass Roman numerals, decorative applied raised stars and gilt-brass hands depicting arrows, held aloft by three gilt-metal winged cherubs standing on a cylindrical white marble base with applied gilt-metal floral mounts, on a further shaped base and standing on four gilt-metal feet, height 39.5cm.* Biography Vincenti started his workshops before 1823 in Montbeliard, France making the blancs roulants (rough movements) for clockmakers to finish and use, but went bankrupt a year later, whereupon the clock manufacturer Roux took on the management. Although Vincenti died in 1834, the business continued, winning a number of awards including the Medaille d'Argent (silver medal) in 1855.
Lot 835
John Wise, Londini fecit, an ebony basket-top bracket clock: the eight-day duration, five-pillar movement with restored verge escapement having a profusely engraved backplate with tulip decoration and signed to the centre within a shaped cartouche, John Wise, Londini fecit, striking the hours on a bell, with the quarter-repeat work now removed, the seven inch square brass dial having a raised silvered chapter ring engraved with black Roman hour numerals, Arabic outer five minute numerals with further half-quarter markings and fleur-de-lis half-hour markings, the matted dial centre with engraved decoration to the date aperture and ringed winding holes, with cast-brass cherub-head spandrels to the four corners and decorative blued steel hands, the ebony case having a cast-brass pierced repousse basket top with a double-griffin carrying handle, cast brass pierced repousse frets to the sides, applied brass mounts to the front, four ball finials to the top corners and standing on brass bun feet, height 37cm (handle up) 34cm (handle down).* Biography John Wise was apprenticed in 1638 to T. Dawson and then turned over to the well-known lantern clock maker Peter Closon, becoming a Freeman of the Clockmakers Company in 1646. Having worked for a period in Warwick, he had returned to London by 1668 and by 1693 was living in Moorfields. Between the years of 1670 and 1685 he took six of his sons as apprentices along with four others. All his sons, bar the youngest, appearing to have continued in the business. John Wise was a known maker of lantern, longcase and spring clocks.* Notes See Horological Masterworks, an Exhibition of English Seventeenth-Century Clocks, published by the Antiquarian Horological Society, 2003.
Lot 832
Le Roy & Fils, Paris, a mirrored lyre-shaped mantel clock: the eight-day duration movement striking the hours and half-hours on a bell with an outside countwheel and Brocot pendulum regulation and having a heavy cast-brass pendulum bob, the backplate stamped Le Roy & Fils, Paris, No. 4896, along with the stamp of the blanc roulant maker Vincenti et Cie, the round white enamel dial having blue Roman hour numerals, Arabic outer five-minute numerals and signed to the centre Le Roy & Fils, Palais Royale a Paris, Gie Montensier 13-15. Medaille a L'Expose Londres 1851, the gilt-wood case of lyre form with inset mirrored panels some having applied gilt deoration, height 42cm.* Biography Le Roy et Fils were established by Basile Charles Le Roy in 1785 and were well known and fine makers of clocks. Basile Charles Le Roy was the Master Clockmaker to Napolean & along with his son Charles-Louis were clockmaker's to the Princess Pauline and the Duke de Bourbon. Examples of their work are in all the major collections as well as the Ministere de la Guerre, Paris. The Maison de Le Roy was founded in 1785 at Palais Royal & continued until the death of Charles at Versailles in 1865. They took on premises at 13-15 Galerie Montpensier, Palais Royal, Paris when the Duc d'Orleans opened the Palais Royal gardens for both the trade and public's use with many prestigious shops opening under the arcaded walkways. From 1885 their London retail outlet was at 57 Bond Street having moved from Regent Street.* Notes For details of Vincenti see lot no. 824
Lot 882
A French ormolu and porcelain mounted mantel clock No. 9045 11, the 3.375ins diameter porcelain dial with Roman numerals within gilt reserves on turquoise ground, the dial centre enamelled in colours with two children playing, to the eight day two train movement striking on a bell, in ormolu case surmounted by conforming two handled urn and with acanthus leaf wreath handles to sides on turned feet, 12ins high and with shaped giltwood plinth base
Lot 437
A Chinese silvery metal backed circular hand mirror embossed with a dragon, 11.5ins (9.2cm) overall, by Wang Hing & Co, a Chinese silvery metal rectangular box with hinged lid, cast and pierced with dragons and cloud motifs, 6.5ins (5.9cm) x 1.625ins (4.1cm) x 1.5ins (3.9cm) high, by Wang Hing & Co Ltd, a silvery metal circular jar and cover and a table bell
Lot 902
A late 18th Century mahogany longcase clock by Thomas Lake of Taunton, the 12ins square brass dial with silvered chapter ring with Roman and Arabic numerals, subsidiary seconds dial and date aperture, to the eight day two train movement striking on a bell, contained in mahogany case with adapted hood, now with shaped cresting and replaced pillars, plain trunk door and on plinth base with bracket feet, 86ins high Note: Thomas Lake recorded working as a Watchmaker in Taunton in 1795
Lot 903
A Late 18th Century dark oak cased longcase clock by James Wilson of Loop, the 12ins arched brass dial with narrow chapter ring with Roman and Arabic numerals, subsidiary seconds dial and calendar dial and with strike/silent dial to arch, to the eight day two train movement striking on a bell, contained in dark oak case with shaped and moulded pediment and plain turned pillars to hood, arched trunk door and moulded base, 81ins high (including finials)
Lot 906
A George III mahogany longcase clock by William Franklin of London, the 12ins arched brass dial with wide silvered chapter ring with Roman and Arabic numerals, subsidiary seconds dial and date aperture and with matted and engraved dial centre, to the eight day two train movement striking on a bell, contained in mahogany case with moulded cornice and gilded wood finals and slender turned pillars too hood, arched and moulded trunk door, the base with astragal moulding, on double plinth base, 88ins high (including finials) Note: Possible William Franklin, recorded working London 1790-1810
Lot 892
A late 19th Century French carved walnut cased wall clock, the 5.25ins diameter dial with Roman numerals, to the eight day two train movement striking on a bell, contained in walnut case fretted and carved with leaf and C-scroll ornament, 21.5ins high, and a 20th Century stained wood cased dial wall clock with 12ins diameter painted metal dial with Roman numerals, to the eight day brass framed fusee movement, contained in case with turned bezel, 15.5ins high
Lot 605
Four South Africa Medals comprising Queen Victoria to 509 S. Sgt. J. Smith APC, with Cape Colony bar, Queen Victoria to 4364 Pte. J. Algar Suffolk Regt. with South Africa 1902 and Transvaal bars, Edward VII to 3852 Pte. J. Bell, K.O. Scott Bord, with South Africa 1901 and South Africa 1902 bars, Edward VII to 6794 Pte. W. Twist Grenadier Guards with South Africa 1901 and South Africa 1902 bars
Lot 860
A late 19th Century/early 20th Century French ormolu cased "Officer de Pendule" table clock, the 4.25ins diameter silvered dial with Roman numerals, to the eight day two train movement with balance escapement striking on a bell, contained in ormolu case with good chiselled acanthus leaf ornament and folding leaf capped double scroll handle and with bold oval paterae to sides, on paw feet, 8.5ins high
Lot 881
A late 19th Century French "Four Glass" mantel clock by L. Marti & Cie, No. 8068, the 3.5ins diameter white enamel chapter ring with Roman numerals and with central visible escapement, to the eight day two train movement striking on a bell, with mercury compensated pendulum, contained in gilt brass and bevelled glass rectangular case, 10.5ins high
Lot 904
A 19th Century oak longcase clock by P. Monti of Sandwich, the 12ins arched painted dial with Roman numerals and with subsidiary seconds and calendar dials, to the eight day two train movement striking on a bell, contained in plain oak case, the hood with arched and moulded cornice, with wood finials and turned and fluted pillars to hood, arched trunk door and on bracket feet, 81ins high (including finials) Note: Peter Monti, born 1817 in Italy, recorded working in High Street, New Street and Knightrider Street, Sandwich - died 1895.
Lot 895
A late 19th Century American walnut drop cased dial wall clock, the 12ins painted metal dial with Roman numerals, to the two train movement striking on a bell, contained in inlaid walnut case with shaped wings and curved base, 27.5ins high, and one other American wall clock by Seth Thomas, the 9.5ins diameter painted metal dial with Roman numerals, to the single train movement, contained in walnut case with octagonal front and pointed drop with glazed door, 21ins high
Lot 909
An 18th Century oak longcase clock by John Day of Wakefield, the 12ins square brass dial with wide silvered chapter ring with Roman and Arabic numerals, the silvered dial centre engraved with leaf scroll ornament, inset with aperture showing phases of the moon above calendar aperture, to the eight day two train movement striking on a bell, contained in oak case, the hood with shaped pediment and three later brass finials and plain pillars, plain trunk door, on plinth base, 94ins high (including finials) Note: John Day recorded working in Wakefield, Yorkshire - Born 1729 - Died 1801
Lot 871
A late 19th Century French gilt metal cased mantel clock, the 3.25ins diameter white enamel dial with Roman numerals, to the eight day two train movement striking on a bell, contained in gilt metal drum pattern case flanked by seated figure of a classical muse and a bold leaf and scroll pattern base, 11.75ins high
Lot 252
Ship's bell for HMS Silverton, named and dated 1941, approx. 33cm high and a framed photograph of the RN Destroyer HMS Silverton (L115), the photograph numbered 24816 and signed 'Beken & Son, Cowes', 23cm x 28cm. HMS Silverton was launched by the Royal Navy on the 4th December 1940 and then later commissioned for Polish Naval service as ORP Krakowiak in 1941, returned to the Royal Navy in September 1946 and scrapped in March 1959 (2)
Lot 72
Sheraton, Thomas "The Cabinet-Maker and Upholsterers Drawing Book", revised and prepared by J Munroe-Bell, Gibbings & Co 1895, facsimile version of the 1802 edition, large folio, brown cloth Markham, Major C A "New Pewter Marks and Old Pewter Ware ...", 2nd edition, Reeves & Turner 1928, numerous photographic ills, gilt dec cloth Wheeler, G Owen "Old English Furniture from the 16th to 19th Century", 2nd edition, Upcott Gill, n.d., red pictorial cloth Stokes, Mr J "The Complete Cabinet Maker and Upholsterer's Guide comprising the Rudiments and Principles of Cabinet-Making and Upholstery ... the Art of Drawing, Process of Veneering, Inlaying and Buhl-Work ... and a number of Receipts ...", London, Dean & Munday, coloured folding engraved frontis, 15 coloured engraved plates and others, contemporary leather rather bumped and worn and four other volumes (1 box)
Lot 3
Lawrence, D H "Lady Chatterley's Lover", pub. Jan-Forlag, Stockholm 1956, limp covers, red titles on cream ground, backstrip separating Laurent-Tailhade, Marie-Louise "The Amorous Adventures of a Lady of Quality" translated from the French by GMC, privately printed Paris (n.d.) Castle, Egerton "Schools and Masters of Fence...", G Bell & Sons 1910, ills, front hinge cracked, cloth rather worn Lankester, Owen "The Human Body", ills with diagrams and a coloured mannequin, Allman & Son Evershed-Martin, Leslie "The Impossible Theatre - The Chichester Festival Theatre Adventure", Phillimore 1971, signed and inscribed by the author on the half-title bearing a collection of signatures of names probably connected to the theatre and one other volume (6)
Lot 8
Ten boxed Beswick limited edition Trumpton figurines, comprising TR1 Captain Flack No 0339/2500, TR2 The Mayor No 0143/2500, TR3 PC McGarry No 0417/2500, TR4 Windy Miller No 0660/2500, TR5 Dr Mop No 0222/2500, TR6 Mrs Honeyman No 0066/2500, TR7 Mrs Dingle No 0370/2500, TR8 Jonathan Bell No 0534/2500, TR9 Mickley Murphy No 0079/2500, TR10 Mrs Cobbett No 0198/2500 (10)
Lot 35
Sir William Orpen RA RI RHA (1878-1931) ON THE HILL OF HOWTH, COUNTY DUBLIN, c.1912-14 pencil and watercolour signed lower right 19.75 x 28.75 in.Provenance: Thought to have been acquired from the Waddington Gallery, Dublin by Mary "Molly" Matthews; Thence gifted to her nephew, Desmond Windle on the occasion of his marriage; Estate of Judge Desmond WindleThe rediscovery of the present drawing adds significantly to Orpen's 'Howth' canon, a group of works which record family holidays on the famous promontory to the north of Dublin Bay. Each year between 1909 and 1913, having completed his teaching term at the Metropolitan School of Art, Orpen, with his wife, Grace, and daughters, Mary and Christine, rented the Bellinghams' house, known as The Cliffs, on Howth Head. For all his philandering and bouts of hard drinking, these summers were to be the best times of his life. Here he could be joined by Dublin friends and students and a sense of joie de vivre prevailed. Orpen of course, never stopped working. His brother Richard, a regular visitor, recalled these 'never-to-be-forgotten summer days' of swimming and sun-bathing, but he felt compelled to add that, Bill was always at work and painted many pictures here. It was at 'The Cliffs' that I realised what the 'urge' of the painter is. Orpen's 'urge' was to represent figures on the headland glorying in the freedom of the vast open sky with, in some instances, the magnificent backdrop of the Irish Sea. It was nevertheless a precipitous place. An amusing pen drawing in a letter to his friend, George Charles Beresford, shows him painting with makeshift easel and heels dug into the grass on a steep slope falling into the sea (fig 1). On breezy days, his actors would erect a bell-tent on the hilltop, crawl to the cliff-edge to watch a yacht race, fly kites, or descend for a swim in the little inlet known as Bellingham's harbour. In these simple things, the possibilities for drawings and paintings were endless, and the results, stunning. Fig 1 William Orpen, The Artist at Howth Head, 26 x 20 approx., date and current location unknown Although there were frequent visitors, and some set-piece ensembles, such as On the Irish Shore (Leeds City Art Galleries), Sheep and Goats, and Life Class on the Beach (both Private Collections), Grace, Mary (known as 'Bunnie') and Christine (known as 'Kit') were favourite subjects. Kit famously remembered that her father '… paid half-a-crown an hour for sitting for those portraits - a fortune in those days … only an hour at a time and then a dash along the cliffs for a bathe - golden days'. Should we assume that the girl in the present drawing lies there awaiting her 'dash' down to the sea - and is this Kit? At the time of its acquisition by Miss Mary Mathews in the 1950s the model for the present work was thus identified. For several generations the picture has always been known as Kit on the Hill of Howth, County Dublin. But is it possible that Orpen, having painted Kit (fig 2) just before her seventh birthday in 1913, would then re-present his daughter as more mature than her years would suggest? The girl in the present work must surely be several years older. Orpen's exquisite draughtsmanship persuades us of this. Fig 2 William Orpen, Kit, c. 1913, 94 x 89, Private Collection Orpen's drawing is of course, unsurpassed. At the time, when Chenil Gallery followed its limited edition facsimilies of his drawings with a pamphlet quoting press coverage, it seemed as though a consensus on quality had been reached. Orpen's humanity, his sympathetic line, placed him above the revered Jean-Auguste-Dominique Ingres, and in works such as The Yacht Race (fig 3), which features Kit in the left corner, the drawing was 'masterly'. The writer could sense the warmth of the sun, and the breeze from the sea, and concluded that 'when an artist can conjure up such emotion his success is complete'. Form, mass and contour are so finely observed that all who appreciated his emerging Irish national school of artists must celebrate Orpen's achievement. While The Yacht Race drawing, one of two to pass through Pyms Gallery, London, at different times, helps us to confirm the look of Orpen's younger daughter, a closer match is found in On the Cliff, (fig 4). Here a barefoot older girl wearing a calf-length skirt and slouch hat is also looking over the headland. Her hair appears to be bobbed and cut to a similar length as that in the present drawing. On this basis, it can tentatively be suggested that the girl in both drawings is likely to be Bunnie Orpen, Kit's older sister. Fig 3 William Orpen, The Yacht Race, 1913, 52 x 75, Private Collection, photo courtesy Pyms Gallery, London Fig 4 William Orpen, In the Cliff, 1913, 53.3 x 74.3, Private Collection, photo courtesy Pyms Gallery, LondonThe same sensitivity of line also persists in both drawings and the washes of watercolour are delicately laid. Detail, the blue piping on the cardigan, for instance, is noted where it needs to be. In essence Orpen wishes to express a sense of bohemian youth and abandon. Other artists, Augustus John, Derwent Lees, Laura Knight and others were taking up his theme. Yet his essentially Irish version of Baudelairean luxe, calme et volupté was unmatched. On Howth Hill the mind was no longer in chains and the petty politics of the Board of Agriculture and Technical Instruction, now dictating the art school curriculum, could be put aside. 1. Bruce Arnold, Orpen, Mirror to an Age, 1981 (Jonathan Cape), p. 273. 2. Quoted in James White ed., William Orpen, A Centenary Exhibition, 1978 (exhibition catalogue, National Gallery of Ireland), p. 42; quoted in Arnold, 1981, pp. 268-9. 3. From 1910 to the outbreak of war the British Isles experienced a series of unprecedentedly hot summers; see for instance Virginia Nicholson, The Perfect Summer, Dancing into Shadow in 1911, 2007 (Penguin pbk ed). 4. Ibid, p. 49. Half-a-crown in 1913 would be worth £13.24 or 14.46 EUR today. 5. Information supplied to Whyte's by the current owner. 6. Christine Orpen ('Kit') was born in September 1906. 7. Like her father, Kit was small in stature. Serious consideration must therefore be given to the possibility that the model in the present instance, is an older girl. At the same time we acknowledge that Kit's hair, formerly in ringlets was straight and bobbed by 1913, the date that concurs with the stylistic and technical aspects of the work. 8. The Art News quoted in The Chenil Gallery, A Portfolio of Ten Drawings by William Orpen ARA, 1914, (Charles Chenil & Co), p. 6. 9. ES Grew, 'The Severe Art of Drawing', The Graphic, 17 January 1914, p. 104. Since Hugh Lane's epoch-making exhibition of Irish Art at the Guildhall Art Gallery, London in 1904, the question of Irish cultural identity in the visual arts was firmly on the agenda. 10. The Yacht Race passed through Pyms Gallery and was included in The Art of A Nation, Three Centurie of Irish Painting, in 2002 (no 31), and On the Cliff featured in its Orpen and the Edwardian Era exhibition in 1986 (no. 37). 11. It would seem logical that Grace Orpen would have her daughters' hair cut to the same style at the same time. 12. William Orpen, Stories of Old Ireland and Myself, 1924 (Williams and Northgate), pp. 4-5. Works from this wonderful collection, included in this 2 October 2017 sale, are lots 2, 5, 10, 15, 20, 26, 35, 48, 50, 53, 54, 56, 58, 59, 62, 66, 67, 91, 92, 94, 102, 103, 111, 112, 116, 120, 121, 122, 124 and 169. Further selections from this extensive collection will be offered in future auctions at Whyte’s.
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123939 item(s)/page