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Lot 61
16 Corgi Toys comprising ERF Model 64 tipper truck, Bedford Tractor unit, Unimog 406, Jeep FC150 (2), Land rover and Pony Trailer, Pennyburn All Steel Trailer, LAnd Rover pick up (2), ERF Model 64 tanker, Ford Holmes Wrecker, Dodge Kew Fargo, Bell AR1G helicopter, Rascal Road Roller, Routemaster bus and ERF Model 44G with Platform Trailer.
Lot 236
A rare Parsons-Sloper Secret Service extension table telephone, by Gent & Co.,British, with ebonised and nickel handset and trumpet mouthpiece, single bell mount beneath scrolled cradle, shaped polished mahogany base with arc-form 15-point tap selector switch, call button, maker’s inset plaque.
Lot 276
Signed by Graham GreeneGreene (Graham) Why the Epigraph?; 8vo L. 1989, Signed Ltd. Edn., 493 (950), cloth; Yes & No and for Whom the Bell Chimes, 8vo L. 1983, Signed Ltd. Edn. 285 (750), cloth; Reflections on Travels with My Aunt, 8vo N.Y. 1989, Signed Ltd. Edn. 238 (250), gilt lettered wrappers; How Father Quixote Became a Monsignor, 8vo Los Angles 1980, Signed Ltd. Edn., 260 (33), cloth; Ways of Escape, 8vo Camden 1980, Signed Ltd. Edn., 137 (150), cloth & slipcase; A Quick Look Behind, Footnotes to An Autobiography, 8vo, Los Angles 1989, Signed Ltd. Edn. 251 (33), cloth & slipcase. As a lot, w.a.f. (6)
Lot 31
Bell (Sam Hanna) Summer Loanen and other Stories, Newcastle (Mourne Press) 1943. First Edn., port. frontis with Signed Christmas Card, & orig. portrait photograph of the author, loosely inserted, orig. boards; also December Bride, L. 1941, First Edn, lacks f.f.e. cloth; and Erin's Orange Lily, L. 1956. First Edn., Signed Pres. Copy to his Mother, 11st Sept. 1956, illus., cloth & d.w. All Scarce. (3)
![The Author's First BookCousins (James H.) Ben Madigan and other Poems, sm. 8vo Belfast, Marcus Ward [1894] First Edn. of Auth](https://cdn.globalauctionplatform.com/a1235de0-ae2f-4b31-9734-a76000fab544/0efe7f9b-6e0f-4cd4-a7db-abc3f5f0bb87/468x382.jpg)
Lot 650
The Author's First BookCousins (James H.) Ben Madigan and other Poems, sm. 8vo Belfast, Marcus Ward [1894] First Edn. of Author's First Book, intro. by John Vinycomb, port. frontis & illus., orig. cloth; The Legend of the Blemished King and other Poems, D. (Bernard Doyle) 1897. First Edn., Vol. 2 of Little Library. Ed. by M.J. Keats, adverts., uncut, lacks wrappers. V. Rare; The Voice of One, L. 1900. First Edn., cloth; The Bell-Branch, 12mo D. 1908. First Edn., cloth backed boards; The Awakening, and other Sonnets. Sm. sq. 8vo D. (Maunsel) n.d. [1907]. First Edn., decor. thro-out; Etain The Beloved and other Poems, D. 1912. First Edn., frontis cloth; and Straight and Crooked, 12mo L. 1915. First Edn., hf. title, uncut, orig. ptd. wrappers. A very Scarce Collection. (7)
Lot 771
Complete File of 'The Bell'Periodical: O'Faolain (Sean), O'Connor (Frank) Editors, & others, The Bell, A Survey of Irish Life. Vol. I No. 1, October 1940 - Vol. XIX, NO. 11, December 1954, together 131 nos., 8vo D. 1940 - 1954, orig. ptd. wrappers. An exceptionally fine Set. (131)* The contributors include the cream of Irish literary talent.
Lot 907
*AR Attributed to VANESSA BELL (1879-1961) BritishPicking Flowers on the South CoastOil on canvasSigned and dated 1940 x 33 cm, framed CONDITION REPORTS: Generally in good condition, expected wear, could do with a clean, remnants of old stencil number to stretcher, verso stuck down with brown paper.
Lot 403
A 19th century gilt metal mounted white marble triple clock garnitureThe white painted dial with Arabic numerals and decorated with floral swags, the bell striking barrel movement signed Japy Freres and numbered 2532, the architectural case with acorn finials, the garnitures twin handled urns en suite. The clock 38 cm high. (3) CONDITION REPORTS: Generally good condition, expected wear, some staining to marble, dial could do with a clean, old repaired chip to marble.
Lot 49
Duncan Grant (1885-1978) PORTRAIT OF LINDY GUINNESS, c.1965 oil on board Purchased from Christie's by Jonathan Riley, Emscote Lawn;Private collection, Dublin;Dickon Hall Fine Art, Belfast;Collection of Dr Henry McKee, 1988;Whyte's, 29 September 2008, lot 6;Private collection Francis Spalding, Duncan Grant: A Biography, Chatto and Windus, London, 1997, p.434 Lindy Guinness, also known as Lady Dufferin, was born in 1941, the daughter of Loel Guinness and his second wife, Lady Isabel Manners. She first met Duncan Grant when she was seventeen and was encouraged by him to paint, subsequently studying at Chelsea School of Art and the Slade, and with Oskar Kokoschka in Salzburg. Lindy continued to visit Charleston regularly to paint with Grant until his death in 1978. She and Grant painted each other regularly and she was instrumental in encouraging the important 1964 retrospective exhibition of his work at Wildenstein, London. Lindy Guinness continues to exhibit regularly at the Ava Gallery on the grounds of her home at Clandeboye, Bangor. Duncan Grant was a central figure in the Bloomsbury Group and along with his partner, Vanessa Bell, her sister Virginia Woolf and his brief loves Maynard Keynes and Lytton Strachey, defined the British arts world of the pre-war period. This mantel was taken up by a younger generation of post-war Pop artists, including David Hockney, who was given early support and encouragement from Sheridan Hamilton-Temple-Blackwood, 5th Marquess of Dufferin and Ava, and husband of Lindy Guinness. Lord Dufferin was co-owner of the Kasmin Gallery, which opened in 1963 and showed the works of Hockney and Lucian Freud, who was married briefly to Lord Dufferin’s sister, Caroline Blackwood. After their own marriage in 1964, Lord and Lady Dufferin became central figures of the London art scene in the 1960s. 24 by 20in. (61 by 50.8cm)
Lot 58
William Scott CBE RA (1913-1989) BLUE STILL LIFE, 1969-1970 oil on canvas signed, titled and dated on reverse with Hanover Gallery, London; Where purchased by Richard Davis, New York, 8 September 1970; Thence by descent to the previous owner; Christie's, 16 November 2007, lot 72; with Richard Green, London, 2008; Collection of George and Maura McClelland 'William Scott: Paintings, Drawings and Gouaches 1938-71', Tate Gallery, London, 19 April to 29 May 1972, catalogue no. 101; 'William Scott', Martha Jackson Gallery, New York, January to February 1973; 'William Scott', Gallery Moos, Toronto, October to November 1973; Art |39| Basel, 4-8 June, 2008, with Richard Green In a review of the major one-man show in New York in 1973, that included Blue Still Life, Hilton Kramer - the influential and provocative critic of the New York Times - described William Scott as "an artist of uncommon distinction - not only the best painter of his generation in England, but one of the best anywhere."(1) The show was to mark Scott's sixtieth birthday, but recognition for his particular contribution to Modernism had been growing over the years, leading to his inclusion to represent Britain at the Venice Biennale in 1958, a major retrospective at the Tate Gallery in London in 1972, and the reproduction of his Berlin Blues 1 painting on an Irish postage stamp in 1973. Scott was, however, continuing to innovate, and the New York show comprised recent works taking his interests to a new level of resolution, including those like Blue Still Life eloquently employing the "rich Mediterranean blues" that had become a signature dimension of his work. Kramer perceptively summarized the paintings in the exhibition as "abstractions based mainly on still-life motifs." While Scott had addressed other subjects from time to time over the years, including landscape, portraiture and the nude, still life was the enduring thematic interest for the artist from an early stage and throughout his career. He asserted his preference for man-made objects over nature, and the contours of still life were interesting in themselves as well as providing a significant basis for his evolving propensity towards abstraction. They were reminiscent also of the domestic environment of his working class origins; as he explained "the objects I painted were the symbols of the life I knew best."(2) Born in Greenock, Scotland in 1913, Scott moved with his family to his father's native Enniskillen in 1924. Initially he learned the skills of sign-writing from his father and attended art classes with Kathleen Bridle who introduced him to Modernist art and to the writings of Roger Fry that would resonate with Scott, not least in highlighting the importance of representing familiar objects over more narrative-based subject matter. Later, Scott went to the Belfast School of Art and then the Royal Academy Schools in London. Following his marriage, he and his wife, artist Mary Lucas, spent time on the Continent - including to Mediterranean towns in the south of France - travelling, seeing art and teaching, before returning to Britain where he later took up a role at the Bath Academy of Art. Scott became a regular visitor to St Ives, and knew many of the artists there. In 1953, a visit to New York brought him into contact with Mark Rothko, Jackson Pollock and Willem de Kooning. While in Paris with his wife, Scott saw his first Matisse painting, a still life with drapery that entranced him reflecting a burgeoning interest and the direction his own work was to take.(3) On a later visit to Paris, in 1946, Scott was captivated by the exhibition A Thousand Years of Still Life Painting, where he "was overwhelmed by the fact that the subject had hardly changed for a thousand years, and yet each generation in turn expressed its own period and feelings and time within this terribly limited narrow range of the still life."(4) While his earliest still life paintings are the most naturalistic, Scott's interest in stylization and in abstracting are evident throughout his career as a painter; his focus on the structure and contours of composition and forms predominate over illusionism and mimesis, demonstrating his interest in primitivist forms and an austere aesthetic. The clustered still life objects of the late 1950s increasingly gave way to abstraction evolving to the celebrated Berlin Blues series in the mid 1960s. In the words of Clive Bell, Scott evinced a "truly remarkable gift of placing",(5) a capacity that became especially evident as Scott pioneered the representation of ordinary subjects on large canvases, with an almost classical presence, as in the commanding scale of Blue Still Life. The late still lifes, as this work demonstrates, comprise emblems on the cusp of abstraction; the familiar contours of utensils are distilled to pure flat forms dispersed on the canvas in a finely tuned arrangement, remote from the practical groupings of the kitchen from which they once derived. Mitigating their potential asceticism, however, Scott had expressed a desire "to animate a still life in the sense that one could animate a figure. I chose my objects … objects without much glamour"(6) indicating their humble origins and enduring personal relevance. His achievement is reflected in Kramer's comments in his New York Times review that Scott "invests this radically delimited imagery with a distinct mode of feeling" explaining that while highly simplified, the works evoke a "remarkable poetic resonance … and suggest a very personal emotional atmosphere." In Blue Still Life, the soft blurring of the familiar contours and the 'haloes' around selected objects balance the cool austerity of uncluttered space, the sparsely populated kitchen repertoire of the working class household in interwar cities. But there is no sense of deprivation, and the image 'breathes' with the space of sufficiency rather than indulgence. Close inspection shows too the flecks and drizzles of paint that, far from the machine aesthetic of Minimalism, reveal the handcraft of construction, abstraction animated by reality. Kramer appropriately summarized the 1973 show that included this painting. (7) "This is a beautiful exhibition, full of wonderful painterly subtleties and the kind of pictorial eloquence we would expect only from a mature artist in complete control of his medium." Dr Yvonne Scott, May 2017 (1) Hilton Kramer, 'Painterly Subtleties Fill Work of Scott', New York Times, 6 January, 1973, p.25. The show was at the Martha Jackson Gallery, New York early in 1973 to mark the artist's sixtieth birthday. (2) Lawrence Alloway, Nine Abstract Artists, their work and theory, London 1954, p.37, quoted in Norbert Lynton, William Scott, London 2007, p.30. (3) Norbert Lynton, William Scott (year), p.23. (4) Alan Bowness, 1964, quoted in Lynton, p.61. (5) Clive Bell, quoted in Lynton, p.42. (6) William Scott, quoted by Theo Crosby, 1957, reproduced in Lynton, p.76. (7) Kramer, op.cit. 48 by 72in. (121.9 by 182.9cm)
Lot 212
A fine 'Chippendale' satinwood and giltwood wine table/kettle stand, c1775, the dished piecrust solid satinwood top to a giltwood carved acanthus and fluted shaft with carved bell flower scrolled legs, terminating in elegant cabriole feet, top 31cm diam max, 58cm high ** For similar Chippendal design for a table, see Christopher Gilbert 'The Life and Times of Thomas Chippendale 1973' Figure 464 for a drawing attributed to Thomas Chippendale c1772
Lot 987
A George III yew wood longcase clock by James Booth, Dublin. With castellated swan neck pediment, marquetry inlaid fluted Corinthian column supports, having feather stringing and raised on a stepped plinth. With square brass dial ornamented with cherub mask spandrels, silvered chapter ring with Roman numeral markers, having subsidiary seconds and date display. Housing an 8 day movement striking on a bell, 2m 36cm high, dial 36cm. Condition Report. To be used as a guide only. Sold with weights and pendulum. No keys. Case in good order.
Lot 777
An early 19th century French gilt bronze mantel clock on rosewood and marquetry plinth under glass dome. Surmounted with a horse and dog, with enamel dial and adorned to the base with acanthus scrolls and a satyr mask. Housing an 8 day movement with silk suspension pendulum and chiming half hourly on a bell, clock 27.5cm, overall 39cm. Condition Report. To be used as a guide only. Dial cracked. Clock not running. Right hand spring broken or lacking. With key and pendulum.
Lot 722
A Biedermeier mahogany cased eight day fusee bracket clock. With enamel dial having Arabic numeral markers signed Le Cems est court. With a brass four pillar two train movement having anchor escapement and striking hourly on a bell with pull repeater, stamped R. Maurer, Eisenbach, clock 43cm, with bracket 67cm. Condition Report. To be used as a guide only. Running. With pendulum but no key. Some alterations inside the case where the movement sits. Hair cracks and slight filled repair to the dial.
Lot 738
A mid 19th century French bronze and sienna marble figural mantel clock. Surmounted with Zeus and attendant. Housing an eight day cyliner movement striking half hourly on a bell, 54.5cm high. Condition Report. To be used as a guide only. Case in good condition. Slight marble chips only. With pendulum, no key.
Lot 786
An early 20th century French brass cased oval four glass mantel clock with enamel dial having white paste set bezel. Housing a cylinder movement striking half hourly on a bell and with mercury pendulum, 26cm high. Condition Report. To be used as a guide only. Running. No key. Glass panels in good order. Movement slightly loose in its housing.
Lot 626
A 19th century French alabaster clock garniture by Thomas of Paris. Surmounted with a figure of Cupid in a hushing pose, with gilt brass dial having foliate bezel and signed. Housing an eight day silk suspension movement striking half hourly on a bell, 47cm high. Condition Report. To be used as a guide only. With pendulum. Some repair to the wings. Cupid lacking little finger on his right hand. One urn separate from the plinth. Some chips.
Lot 719
A 19th century French assembled ormolu clock garniture with Sevres style panels. The clock with urn shaped finial is painted with a Watteaesque scene and housing and eight day movement striking half hourly on a bell, stamped H. P. & Co. Flanked by a pair of larger covered urns, turquoise ground, gilded and jeweled and each finely enamelled with Classical subjects. Urns, 38cm. Condition Report. To be used as a guide only. Urn finial loose. No pendulum. Clock lacking one foot. Some jewelling lacking from the lower panel of the clock. No cracks or repair to the porcelain.
Lot 701
A 19th century slate mantel clock and barometer set. The clock with visible anchor escapement and enamel dial is signed C. Bastien, Limoges. Housing an 8 day movement striking half hourly on a bell, 39.75cm. Condition Report. To be used as a guide only. Some slight slate chips. Mechanism working.
Lot 674
A 19th century gilt metal mantel clock set with Sevres style panels and surmounted with a twin handled neo Classical urn. Housing an eight day cylinder movement striking half hourly on a bell, stamped Bennett, Cheapside, London, 42cm high. Condition Report. To be used as a guide only. No pendulum. Case and panels in good order. Some gilt wear to the porcelain.
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123509 item(s)/page