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Lot 133
A mixed lot of Oriental ceramics to include an oval lidded pot on ornate base, with floral transfer design; two small famille verte plates (one af); a small Japanese brush pot, 5.5cmH, marks to base; two small Japanese bowls, one highly decorated with gilt and floral design to interior (af), marks to base, 5cmD; together with two small teabowls and a saucer (9)
Lot 720
A pair of silver hallmark vesta cases having engraving decorations to the body, hinged lid, Birmingham silver hallmarks, letter date f 1905, makers mark for J G Joseph Gloster and date D 1903, makers mark for S&B (Smith & Bartlam) along with two silver brush covers hallmarked Birmingham dated P 1889-1890 S.W.S ( Samuel Walton smith) Total weight: 126g
Lot 1185
ADIE BROS LTD; an Elizabeth II hallmarked silver two-piece dressing table set, comprising hand mirror and hair brush, each with engine turned detail, Birmingham 1956, also a hallmarked silver Capstan inkwell, diameter 6.5cm, and two dressing table bottles with hallmarked silver mounts and cover (5).Additional InformationThe cover on the Capstan inkwell is bent, also dinting to the body. The glass jar with hallmarked silver cover has a crack to the underside mirror section. The further bottle with minor denting to the rim and very minimal chipping/wear to the foot rim.
Lot 1297
BROADWAY & CO; an Art Deco George V hallmarked silver four piece dressing table set comprising mirror, two brushes and comb, Birmingham 1939, length of mirror 27.5cm.Additional InformationSome surface dents to the mirror, but clear hallmarks and glass OK, not misshapen. Hallmarks badly rubbed to the clothes brush and comb, partially rubbed to the hair brush and these three pieces are in poorer condition. Movement to the silver, scratches and rubbing.
Lot 48
Norah McGuinness HRHA (1901-1980) Lobster Pots, Brittany Oil on canvas, 45 x 60cm (17¾ x 23½'') Signed In this work we are presented with a small snapshot of life in north western France where lobster fishing was an industry central to the coastal region. The traditional wicker pots used for trapping the lobster dominate the foreground of the painting. One can imagine McGuinness visiting the harbour, making sketches of the everyday rituals of the local fishing community. On this occasion the pots lie idle on the beach, awaiting their next journey out to sea. McGuinness uses a tightly cropped composition, suggesting the harbour stretching out beyond to the horizon on the left and the winding road sweeping up to the right, where a woman walks pushing a pram. A man stands behind her, facing the harbour, moving down a slipway towards the waters edge. Although the work is not dated, there are other known examples of paintings by McGuiness of the Breton landscape, such as the Les Bigoudenes in the Niland Collection, Sligo which depicts the Breton women wearing traditional tall lace headdresses of the Pays Bigouden region. This painting appeared in exhibition of McGuinness' work at the Leicester Galleries, London, in 1951. Or another titled Breton Port which was exhibited in The Irish Exhibition of Living Art, 1950. While none of these works are dated by the artist it would suggest that she was working in the area in the late 1940s, early 1950s and would place this lot in a similar time frame. This was many years after her initial visit to France, when on the advice of fellow Irish artist Mainie Jellett, she travelled to Paris in 1929 to study with the cubist painter André Lhote. McGuinness was not as heavily influenced by the theories of cubism as Jellett nor did she adopt them as broadly in her own work. Throughout her career she maintained an interest in figural and representational subject matter, while at the same time introducing a heightened colour palette and broad expressive brushstrokes. In this work the colours take central importance, the surface of the painting is brought to life through the range of tones used by McGuiness, the ochre red of the sand, the dark green of the seaweed, the bright electric blue on the inside of the boat moored on shoreline. She uses thick, expressive brushstrokes, applying the paint in quick motions particularly in the sea, where the shifts in colour from white to blueish green suggest the passing light moving across the water's surface. The vertical upright form of the ship mast is mirrored in the lighthouse in the background balancing the composition and creating a framing device for the scene taking place in between. A large country house stands overlooking the harbour, diminutive next to the trees, their full blossom outlined by McGuinness with the end of her brush, scraping lines into the painted canvas. This work is an interesting comparison to the established painted imagery of the region. In particular the overwhelming religious iconography associated with the traditional Breton clothing, that so compelled the French Impressionists and early 20th century painters who visited and lived in the artistic community of the region. McGuinness focuses on another aspect of this which feels slightly more considered in its expression of everyday life. She is an observer, avoiding the tendency to mythologise the traditions of the Breton people. Niamh Corcoran, February 2020
Lot 58
Basil Blackshaw HRHA RUA (1932-2016) The Big House Oil on canvas, 88 x 73cm (34¾ x 28¾'') Signed; also inscribed with title and dated July (19)'92 Provenance: With Tom Caldwell Gallery, Belfast, 1992/93, where purchased by the present owners. The early 1980s brought an artistic shift to the paintings of Basil Blackshaw. In '83, following a period spent in hospital, Blackshaw determined that he had lost the connection with his subject matter and he set about trying to rekindle the joy which he had once found amongst his canvases. He began to embark along a route that took him further from figural studies and nearer to the abstraction which would later typify his work. Two years later, a studio fire consumed everything but, as with the flames that remove old growth in a forest, a space was cleared in which Blackshaw's talent could grow afresh. From this point, Blackshaw hurled himself along his new path. His models became colour, texture and shape. With each seemingly hurried and spontaneous sweep of his brush, Blackshaw peeled away the exterior layers of his subject matter and revealed its inner form. By doing this, Blackshaw encouraged an appreciation for his subject which was devoid of association. His works sought an exploration of paint, movement and expression and they strove to imprint an experience on the viewer as opposed to a static representational image. As Blackshaw approached a new decade, he was influenced by the work of the neo-expressionists and this further enhanced his pieces. Blackshaw's canvases became awash with violent, rapid brushstrokes, vivid, contrasting colours and distorted forms. The culmination of these factors is evident in 'The Big House'. As with his barn series of the previous year, Blackshaw utilises a saturated colour palette in his approach to this building. The brash yellow arrests the viewer, its strength intensified by the contrast of deep blue in the upper corner. White dashes to the front subtly illustrate a gated entrance and this allows our mind to develop the structure beyond. Presented with the bare minimum, sketched marks roughly delineate the house's form allowing our eye to skid and dash along the paint marks, creating a symphony of movement around a stationary construction. In such a manner, the viewer is immersed in the mind of the artist. We are enveloped in his brusque nature and shown a starkly different world to the one that we are used to. 'The Big House' is a bold and unapologetic painting that beautifully holds its place in the progression of Blackshaw's oeuvre. A painter that refused to commit to any one style, 'The Big House' immortalises a period in which Blackshaw's artistic voice could be likened to a bellow and is, consequently, a painting that cannot be ignored. Helena Carlyle, February 2020 The proceeds of the sale of this painting are being generously donated to the Adsum Foundation, a charity with a goal of investing money in people and communities in the developing world and in particular Madagascar.
Lot 163
A good mixed lot of collectors' items to include banknotes from various countries, a folding metal cake stand with engraved decoration of a peacock, a silk handbag, a small expanding coin purse, a silver-backed clothes brush, a small quantity of costume jewellery, three pairs of elbow-length gloves with a glove stretcher, a cased hallmarked silver manicure set, postcards, etc.
Lot 47
A late 19th/early 20th century mahogany side table with single frieze drawer, brush-in slide, parquetry top and pierced brass gallery rail, gilt brass mounts, on cabriole legs with under tier, width 38cm, height 70cm, depth 57cm. CONDITION REPORT Overall good but used condition, minor splits and cracks visible to the veneer upon close inspection. Very minor chip to one of the corner brackets of the under tier, minor staining and light surface scratches throughout.
Lot 190
Cased blue enamelled and silver brushed and mirror five piece set, the case marked Cross Brothers Ltd Silversmiths and Cutlers, St Mary's Street, Cardiff. Birmingham hallmarks. (B.P. 21% + VAT) All appearing in very nice condition. One larger brush has damage to the enamel on one corner, otherwise good overall.
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