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Lot 141
A pair of Chinese blue and white covered vases 20th century, ovoid in form with foliate and chrysanthemum decoration, later applied shoulder to base cast bronze winged angel handles, removable cast bronze scrollwork collar, dome cover with squat finial, seated upon a circular cast bronze base with shell and joined opposable `C` scroll feet, 20in. (51cm.) high. (2)
Lot 747
Alfred Boucher - a bronze figure of Ceres holding a cherub and a cornucopia, standing on a winged wheel on a hemispherical bronze base, mid to dark brown patination, signed `A. Boucher` and `Brouart Editeur, Paris`, on an incuse stepped green & black marble plinth with gilt brass border, 25¼in. (64cm.) high.
Lot 774
Antiquities - an archaic bronze lion incense burner probably 11th century Seljuq Empire, Turko-Persian, the stylised lion standing four square on large pad feet with incised claws, with head slightly raised and mouth open showing teeth, large elliptical pierced eyes, ribbed nose decoration and small ears perched on the side of the head, the short tubular tail curled forwards (possibly originally longer), reticulated back with concentric floral piercing, raised floral decoration to the front of the body, green encrusted patination throughout, 6¼in. (16cm.) long, 5½in. (14cm.) high, believed to have been originally in two sections, which have been joined.
Lot 775
Antiquities - A rare and unusual silver mounted bronze drinking vessel possibly Luristan, with all over encrusted green patination which has flaked away in places to reveal the red-brown patinated bronze beneath, the vessel of waisted cylindrical form, flared more broadly above the domed base, the reeded strap handle with a saw toothed silver thumbpiece, a well detailed silver ram`s head mounted below the rim to the opposing side, 3½in. (9cm.) high, the rim 2¾in. (7cm.) diameter.
Lot 778
Antiquities - A Luristan bronze `Master of the Animals` standard finial circa 8th century, in the form of a two-headed janiform deity grasping the heads of two goat headed monsters, with subsidiary cock`s heads below, over a stylised bloated body and bound feet, 7in. (17.75cm.) high, complete with the separate lower stem section with flared top over a straight stem with ribbed collar and waisted lower socket section ribbed collar to base, 6¾in. (17cm.) high. (2)
Lot 797
A pair of patinated bronze and ormolu Empire style candlesticks French, 19th century, the ormolu urn sconces with detachable nozzles over bead and husk decorated drip pans, supported on three ormolu scroll supports to a fluted, turned and anthemion decorated column issuing from a foliate mount, the angular parcel-gilt trefoil base with anthemion pendants and three outswept supports with paw feet, 11in. (28cm.) high. (2)
Lot 927
A late 19th century photograph depicting two gentleman standing beneath the Prince Albert statue, a freight boat can be seen moored in the background as can the Victoria Hotel. *The Prince Albert statue by Joseph Durham (1814-1877), the bronze on pedestal monument was erected in 1863, the statue itself is very fine, both in outline and detail, especially with regard to the Order of the Garter costume. The statue now over looks what has become the Victoria and Albert marinas and stands as a proud reminder of the couple`s visit in 1846.
Lot 24
Gabriel Hayes (1909-1978) Peonies in Pewter Mug Oil on canvas, 61 x 51cm (24 x 20") Signed Exhibited: "A Private Collection", The Frederick Gallery, December 1999, where purchased by current owner Gabriel Hayes was born in Kildare and spent time travelling and studying in the USA and France before returning to Ireland and entering the Dublin Metropolitan School of Art. She is best remembered for her wonderful sculpture panels on the Department of Industry on Kildare Street which she worked on in situ, 23 metres from ground level suspended in a wooden cage. These sculptures are generally symbolic, representing themes connected with industry and commerce in general, but there are also some heads, one representing St Brendan as personifying navigation and another 'Eire' over the main entrance. From 1957, she began the life size Stations of the Cross for Galway Cathedral which took her twelve years to complete. During this time she also made designs for the new decimal coins and a series of medals. She worked in bronze, limestone and Portland stone but, although there are few examples, this work shows that she was extremely adept at painting with oils too. Here she skilfully captures the effects of sunlight on the hard reflective surface of the jug and tray, contrasted elegantly with the soft full blooms.
Lot 72
Frederick E. McWilliam HRUA RA (1909-1992) Study for Homer II Bronze, 24cm (9½") Signed with initials and numbered 3/3 Provenance: Waddington Galleries London, 30th November 1961, where purchased and thence by descent to current owner Literature: "The Sculpture of F.E. McWilliam", 2012, by Denise Ferran and Balerie Holman, Cat. No. 168, p123 By this point in his career, McWilliam was teaching sculpture at the Slade, and exhibiting all over the world, including London, New York and South America. This is a study for a large scale public sculpture, the year after his commission for Princess Macha at Altnagelvin Hospital, and demonstrates the artist's progression into large, freestanding, surface textured bronze works. The angular elongated legs of the figure preempts his exploration of legs in bronze, which occupied him in the late 1970s. The full size version of this sculpture is at Belfast City Hospital where it is affectionately known as 'The man with the broken arm'. (See note on McWilliam sculpture, p.114)
Lot 79
Frederick E. McWilliam HRUA RA (1909-1992) Girl Standing, 1955 (a.k.a. Elongated Figure) Bronze, 96.5cm (38") high Signed and numbered 3/3 Provenance: From the Collection of George and Maura McClelland and on loan from them to IMMA from 1999 - 2004; Private Collection Dublin Exhibited: "F.E. McWilliam" Exhibition, Hanover Gallery London, Feb/Mar 1956, Cat. No. 9; "Vision and Reality: An Exhibition of Contemporary Paintings and Sculpture", Wakefield City Art Gallery, Sept/Oct 1956; "Contemporary British Art", Silberman Galleries touring exhibition New York, Washington, etc. 1956/57; "Five Sculptors", Hatton Gallery, Newcastle-upon-Tyne 1957; "F.E. McWilliam Retrospective Exhibition", Ulster Museum Belfast April/May 1981, Douglas Hyde Gallery, Trinity College Dublin May/June 1981, The Crawford Gallery Cork July/Aug 1981, Cat. No. 26; "Works from the McClelland Collection" IMMA, Sept 2000 - Jan 2001; "Northern Artists from the McClelland Collection" Exhibition, IMMA 2004/5, and Droichead Arts Centre 2005; and "F.E. McWilliam Inaugural Exhibition", F.E. McWilliam Museum, Banbridge, Sept 2008 - Feb 2009, The Highlanes Gallery, Drogheda, Feb-Apr 2009 Literature: "The Sculpture of F.E. McWilliam" by Denise Ferran and Valerie Holmen 2012, Cat. No. 141, p.120 Girl Standing II is part of a series of sculptures made by McWilliam in the mid 1950s of figurative works given recognisable names, e.g. "The Sisters", "Blind Man", "Boy", but made abstract in their elongated bodies and simplification of form. Inspired by his time spent in India during the Second World War, the sculptor used the technique of isolating elements of the body and allowing the viewer to fill in the rest of the details themselves. In this sculpture, the head is emphasized while brief details sketch out the rest of the figure as a girl. Her open stance with head raised and arms bent but outstretched at her side, and the textured bronze surface, were further developed by McWilliam when he was commissioned to make the large public sculpture "Princess Macha".
Lot 80
Frederick E. McWilliam HRUA RA (1909-1992) Woman with Arms Folded 1939 Hoptonwood stone, 54.5cm (51½") high Provenance: From the Collection of George and Maura McClelland and on loan from them to IMMA from 1999 - 2004; Private Collection Dublin Exhibited: "F.E. McWilliam" Exhibition, Hanover Gallery London, Feb/Mar 1956, Cat. No. 8; "Britain's Contribution to Surrealism of the 30's and 40's", The Hamet Gallery London, 1971; "F.E. McWilliam Retrospective" Exhibition, Ulster Museum Belfast, April/May 1981; Douglas Hyde Gallery, TCD Dublin, May/June 1981; and The Crawford Gallery Cork, July/Aug 1981; Cat. No. 12; "Northern Artists from the McClelland Collection" Exhibition, IMMA 2004/5, and Droichand Arts Center 2005; "F.E. McWilliam at Banbridge", F.E. McWilliam Museum, Sept 2008 - Feb 2009; The Highlane Gallery Drogheda, Feb/April 2009; and "The Moderns", IMMA, Cat. No. 66 Literature: "McWilliam" 1964 by Roland Penrose, illustrated no. 18; "F.E. McWilliam", Arts Council NI, 1981, full page illustration p.19; "The Hunter Gatherer" IMMA 2005, full page illustration p.115; "F.E. McWilliam at Banbridge" 2008 by Denise Ferran, full page illustration with artist p.35, full page illustration p.43; "The Moderns" IMMA, full page illustration p.131; and "F.E. McWilliam" 2012 by Denise Ferran and Valerie Holman, Cat. No. 34, p.92, also illustrated p.29 McWilliam began this work in 1937 after visiting the Hoptonwood quarry in Derbyshire with sculptors Henry Moore and AH Gerrard, his professor at the Slade, and taking back several irregularly shaped hunks of stone. The material is very fine, almost like marble, and is particularly suited to carving. It was around this time that McWilliam began his association with the British Surrealist group and the sculpture, while working from a figurative starting point, parodies the idealisation of the human torso to be seen in classical busts. The distortion of the figure's breasts is unsettling and it is significant that this and related carvings of deformed human heads and torsos by the artist were made in a period of international crisis, before the outbreak of the Second World War. He reworked the sculpture in 1939 and again after the war in 1947. In autumn 1949 McWilliam held his first post-War solo exhibition at the Hanover Gallery in London of 21 works of diverse media including stone, terracotta, concrete, various woods and bronze. Two sculptures in it had been made before the War, one of which is Woman with Folded Arms. In 1981, he further shortened the neck. The work remained outdoors in his garden at Holland Park until its inclusion in the Arts Councils of Ireland exhibition in 1981, and was then dated 1939 by McWilliam. However it is dated 1937-8 in Robertson 1965.
Lot 82
Frederick E. McWilliam HRUA RA (1909-1992) Woman of Belfast II, 1972 Bronze, 57 x 74 x 28cm (22½ x 29 x 11") Signed with initials and numbered 2/5 Provenance: From the Collection of George and Maura McClelland and on loan from them to IMMA from 1999 - 2004; Private Collection Dublin Exhibited: "F.E. McWilliam: Sculpture 1972/3 Women of Belfast", Waddington Galleries, London, Oct/Nov 1973; "Women of Belfast: New Bronzes by F.E. McWilliam 1972/3", McClelland Galleries International, Belfast, November 1973, Cat. No. 2; "F.E. McWilliam Retrospective" Exhibition, Ulster Museum Belfast, April/May 1981, Douglas Hyde Gallery, TCD, Dublin, May/June 1981, Crawford Gallery Cork, July/August 1981; and Orchard Gallery, Derry, Sept.Oct 1981, Cat. No. 101; and "Nothern Artists from the McClelland Collection", IMMA 2004/5, and Droichand Arts Center 2005 The Women of Belfast series represents an attempt by the artist to address a specific event in Irish history, and relates to McWilliam's interest in humanity as a theme. The series was inspired by media images of the bombings of the Abercorn Restaurant in Belfast on a busy Saturday afternoon in March 1972. The latest in a series of death and destruction during the Troubles, this event caused nationwide revulsion as it was mainly women and children who were either killed or maimed, and particularly affected McWilliam. At the time the sculptor was working on the expressive potential of drapery, a fundamental idea in the history of art. Traditionally drapery is used to articulate the shape of the body underneath and to suggest particular emotion or ideas. In Women of Belfast this fundamental pictorial idea has been dislocated. The distorted forms of the women's clothing and their extended limbs work independently of each other to express the dehumanising effect of the violence. The extremity of movement and the unnatural distortions of the figures convey the force of the bomb blast, and their frozen nature encapsulates an extreme moment in history. The associated sketches retain a sense of emotional involvement which is absent in the bronzes. This demonstrates the fact that for McWilliam sculpture required the resolution of a pictorial or conceptual problem whereas drawing was a more spontaneous activity. Women of Belfast was another incarnation of McWilliam's interest and exploration of the human form throughout his career, yet with a personal and historic connection. George McClelland, by exhibiting the series in his gallery in 1973, played a vital role in giving McWilliam an opportunity to comment on the political situation at a crucial moment in Northern Irish history. We would like to thank Roisin Kennedy and Denise Ferran, whose research formed the basis of this catalogue entry. Literature: "F.E. McWilliam Retrospective" 1981 Catalogue, illustrated p.70; "The Hunter Gatherer" IMMA 2005, Fig.111 p.114; "F.E. McWilliam at Banbridge", Densie Ferran 2008, illustrated p.99; and "The Sculpture of F.E. McWilliam" by Denise Ferran and Valerie Holmen, Cat. No. 378, p.155
Lot 161
Jerome Connor (1876-1943) Head of a Mourning Mother Bronze, 16cm (6¼") Provenance: From the collection of RHA President, the artist Dermod O'Brien PRHA and thence by decent from whom acquired Private Collection Dublin. There is a hand written note inside by the artist Brigid Ganly (Dermod O'Briens daughter) stating that this was one of the artist's concepts for the Lusitania Memorial obviously replacing one of the mourning fishermen, the head of whom adopts a similar pose. There is a bigger version of this piece which was in the Digby Collection (Capuchin Annual 1965)
Lot 162
John Henry Foley RHA RA (1818-1874) Youth at the Stream Bronze, rich red-brown patina, 54.5cm(21½") high Inscribed and dated "J.H. Foley Sculp. Executed for The Art Union of London, 1846" Literature: "Victorian Sculpture" by B. Read, 1982, p65; "The Bronze Statuettes of the Art Union of London: The Rise and Decline of Victorian Taste in Sculpture", Apollo, May 1985, p328-337; "A Dictionary of Irish Artists" by W.G. Strickland, p357-365 Born in Dublin, the son of a grocer, John Henry Foley entered the Royal Dublin Society Schools in 1833 and subsequently the Royal Academy Schools from 1835, studying under Richard Westmacott (1775-1856). He exhibited there from 1839 and first attracted attention at the R.A. in 1840 with his "Innocence" and "Bacchus", showing the influence of Etienne Maurice Falconet (1716-1791). He was to carry on producing works in this genre, culminating in "Youth at the Stream". These idealised sculptures are delicately executed and elegantly attenuated showing a Mannerist influence. The Art Union (later the Art Journal), Foley's most consistent critic and champion, considered "Youth at the Stream" to be the most beautiful work at the R.A. exhibition in 1844 and, in 1846, commissioned a statuette version of it in bronze of which this is one. Foley also sent "Youth at the Steam" to an exhibition in Westminster Hall in 1844, which resulted in his selection by the Commissioners, along with Calder Marshall and John Bell, to create works in sculpture for the new Houses of Parliament. His political portraits, in particular, that of John Hampden, led to his rapid ascension to the status of the pre-eminent sculptor of mid-Victorian Britain. He was made an Associate of the Royal Academy in 1849 and a full member in 1858.
Lot 163
Markey Robinson (1917-1999) Queen of Peace 1971 Painted bronze sculpture, 47 x 7.5 x 7.5cm (18½ x 3 x 3") Provenance: From the Collection of George and Maura McClelland and on loan from them to IMMA from 1999 - 2004; Private Collection Dublin Literature: "Markey Robinson: Maverick Spirit" by Dr Michael Mulreany 2003, Cat. No.31, illustrated p82; "The Hunter Gatherer", Irish Museum of Modern Art, 2004, Fig. No.143, illustrated p.138 (wooden version now cast in bronze)
Lot 83
Théo Tobiasse (1927-2012) Bethsabée et Salomon Épreuve en bronze à patine brune Inscrit "Bethsabée et Salomon" Inscrit "Tobiasse 2009" et numérotée 3/8 Fondeur "Fusion" Bronze cast with brown patina Inscribed "Bethsabée et Salomon" Inscribed "Tobiasse" and numbered 3/8 Foundry Fusion Haut. 65 cm - 25 5/8 in.
Lot 102
** A NORTH-WEST PERSIAN BRONZE SHORTSWORD, LURISTAN, CIRCA 1000 B. C. in excavated condition, with tapering blade formed with a full length raised fluted ridge on each face, the forte enclosed by an elliptical moulding on each side, rectangular tang hollowed for a pair of grips, and small elliptical pommel 24.5 cm; 9 5/8 in blade
Lot 156
** A NORTH ITALIAN PARADE HALBERD, EARLY 17TH CENTURY, PROBABLY VENETIAN with curved slender axe-blade pierced with numerous shaped panels and engraved with scrolls, formed with a shaped lug top and bottom and fitted with a chased bronze grotesque boss on each side, pierced and engraved rear fluke decorated en suite and fitted with a further pair of bronze bosses, the centre fitted with a transverse bolt terminating in a pyramidal spike on each side, central blade of flattened-diamond section, pierced with three central slots and engraved with scrolls rising from a mask, fitted at the base with a characteristic openwork collar comprising six bars each interrupted by a cherubic mask, engraved socket, on an early wooden haft covered with red fabric, studded with brass nails and retaining three tassels and its iron shoe (haft worn and repaired, shoe incomplete) 55.2 cm; 21 3/4 in head A halberd of similar form is preserved in the Poldi Pezzoli Museum, Milan, cat. Nos. 526 and 527. Two others were sold in these rooms, 28th June 2006, lot 347 and 7th December 2006, lot 214 respectively.
Lot 206
** ALFRED EMILE O` HARA COMTE DE NIEUWERKERKE (1811-92) :`MORT DE MONSEIGNEUR LE DUC DE CLARENCE`, A FRENCH BRONZE EQUESTRIAN GROUP, MID-19TH CENTURY brown patinated, depicting two accurately modelled armoured figures on caparisoned horses, the base with neo gothic decoration and lengthy narrative inscriptions on each side, signed `par le Cte E. de Nieuwerkerke`, dated 1838, with foundry inscription `fondu par E. Quesnel. Paris` and `Susse frères éditeurs place de la bourse` 55 cm; 21 ¾ in high, 60 cm; 23 5/8 in wide; 19 cm; 7 ¾ in deep This sculpture shows the encounter between Thomas, 1st Duke of Clarence (Henry V`s brother) and Garin de Fontaine at the battle of Baugé, 22 March 1421 during the 100 Years War. Thomas had not been present at his brother`s famous victory at Agincourt (1415), and it may have been his desire to establish his battle credentials that led him to push on against the Scots fighting with the French despite advice to the contrary. In a rather ironic twist of fate his downfall may have been brought about by the lack of archers in his company compared to the number of Scottish bowmen, although the Scots and French were numerically inferior. As it was, in what was effectively an ill-advised sortie, Clarence and a significant number of his men at arms were killed. The historic accounts are confused, and it is not clear who actually killed Clarence, but as he was Henry V`s Regent at the time, his death was a significant blow to the English. This sculpture is probably the best known work of Alfred-Emilien O`Hara Comte de Nieuwerkerke (1811-1892). Nieuwerkerke, a French sculptor of Dutch descent, enjoyed a high level civil service career in the French Second Empire, until its fall in 1870. Following this he left Paris and moved to Italy, via London, shedding much of his distinguished collections as he went. Much of his arms and armour collection was acquired by Sir Richard Wallace and remains in the Wallace Collection today. A plaster model, perhaps the original and another bronze sculpture of this group are preserved in the Royal Armouries, Leeds (XVII.29).
Lot 214
** A PAIR OF BRONZE CANNON, 19TH CENTURY with tapering barrels formed in five stages, with raised astragal mouldings, swamped at the muzzles, scallop-shell vents, globose cacabels, and a pair of plain trunnions: each on a later stepped wooden carriage with four trucks 68 cm; 26 ¾ in barrel 4 cm; 1 ½ in bore
Lot 390
A PAIR OF GERMAN BRONZE SALUTING CANNON, 19TH CENTURY with tapering multi-stage barrels formed with raised astragal mouldings, moulded muzzles, cascables drawn-out to a near acorn shaped moulding, a pair of dolphin lifting handles each on a punched ground, plain trunnions: each on its iron-clad wooden field carriage with iron-shod spoked cambered wheels (losses, one pair of cap squares missing), together with a well matched limber 41 cm; 16 1/4 in barrels (3)
Lot 404
A FINE GARNITURE OF BOHEMIAN FLINTLOCK FIREARMS, COMPRISING A PAIR OF 18 BORE SPORTING GUNS, A PAIR OF .600 CALIBRE RIFLED SPORTING CARBINES AND A PAIR OF 22 BORE PISTOLS BY LEOPOLD BECHER, CIRCA 1740 the guns with blued barrels in the Spanish taste, fitted with silver `spider` fore-sights chiselled with a band of foliage ahead of gilt scrolls at the medians and further scrolls, pellets and foliage over the breeches, the latter incorporating the barrelsmith`s marks (Neue Støckel 5758), a decorative gilt-lined spur mark and a further mark, in a gilt recess the inscription `Gewundene`, engraved tangs numbered `1` and `2`, rounded locks finely chiselled against a punched ground with a cavalryman on the tails, an elaborate trophy involving a warrior beneath the pans and signed behind the steel springs, fitted with chiselled cocks, pans with water drains, and steels decorated en suite (one top-jaw and screw missing), figured walnut half-stock impressed `45` and `46`, carved en rocaille with scrolls on shells about the rear ramrod-pipes and ahead of the trigger-guards (one small chip), raised mouldings and further rococo designs about the tangs (chipped), the butts with designs of shells, scrolls and foliage on each side and raised cheek-pieces on the left (small cracks and repairs), finely cast and chased gilt-bronze mounts comprising side-plates decorated with a cavalry scene against a punched ground, trigger-guards decorated with a hunter and a falconer respectively, butt-plates decorated with mounted figures within a rococo framework beneath a grotesque and foliage, vacant escutcheons involving further figures on horseback, fore-end caps en suite, three gilt ramrod-pipes, steel sling swivels, and each with its brass-tipped wooden ramrod; the carbines with blued octagonal swamped sighted barrels rifled with seven grooves, signed and decorated en suite with the guns, the breeches stamped with the gold-lined barrelsmiths mark of Hans Johan Stifter (Neue Støckel 1042), finely chiselled locks and mounts en suite with the guns, double set triggers, full stocks impressed `43` and `44`, carved with rococo shell and scroll designs, the butts with carved cheek-pieces on the left and patchboxes with sliding covers entirely covered in chiselled gilt bronze on the right, the latter decorated with a boar set upon by hounds in an architectural landscape, and wooden ramrods, one with its brass tip (the other missing); the pistols with blued barrels in the Spanish taste, decorated and stamped en suite with the guns, the tangs, locks (one top-jaw, screw and both steels missing, one cock cracked) and mounts all decorated en suite with the carbines and the guns, figured walnut full stocks impressed `97` and `98` (one wormed), and brass-tipped wooden ramrods; and the entire garniture retaining much original blued and gilt finish throughout 94 cm; 37 in gun barrels 68.5 cm; 27 in carbine barrels 27.2 cm; 10 ¾ in pistol barrels (6) Leopold Becher is recorded circa 1725-50 and as Hofbüchsenmacher to Prince and General Johann Georg Christian Lobkowitz in Raudnitz circa 1726-7, another garniture by him still remains in the family gunroom. Becher is considered the most distinguished Carlsbad maker, his work being represented by a number of pieces in the former Imperial Gewehrkammer, Vienna, and the Danish Royal collection, Copenhagen. See J. F. Hayward 1963, pp. 128-130 and J. J. Batty 2011, p. 115-118.
Lot 125
A large collection of commemorative coinage, to include; the 2010 and 2011 Britannia four coin silver proof sets, the three Kings 75th anniversary silver coin cover, £5 coins, silver crowns dated 1888 & 1935, a large number of bronze pennies and half pennies etc and a 9ct gold and enamel Masonic medal in case (a quantity)
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