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Click here to subscribeA GEORGE V SILVER BRUSH SET, BY WALKER & HALL, BIRMINGHAM 1917 AND 1918, A GEORGE V SILVER MOUNTED GLASS SCENT BOTTLE, 12CM H, BY HASSET & HARPER LTD, BIRMINGHAM 1924 AND A SILVER AND BLUE GUILLOCHE ENAMEL MOUNTED GLASS SCENT BOTTLE, 11.7 CM H, BIRMINGHAM 1928 (4)++ALL TARNISHED; ENAMEL AND SILVER MOUNT DAMAGED
An early 19th century Thomason 'Ne Plus Ultra' double action corkscrew by Samuel Cotterill:, turned bone handle with brush, engine turned and ringed bronze barrel with Royal Coat of Arms, also signed as per title, wire helix.* Provenance- 'The Herbert Mills Collection' Christie's South Kensington 22nd September 1998, lot 113
ELIOTH GRUNER (AUSTRALIAN 1882-1939)THE SILVER LIGHT OF SUMMER MORN Signed, oil on canvas41cm x 46cm (16in x 18in)Provenance: A gift to the current owner from Dr. Patricia Mackay who brought it back to Scotland from Australia c.1934/35. When in Australia Patricia Mackay spent time with her first cousin Angus MacIntyre who acquired, re-built and lived in Fairlight House, Manly from 1910-1939. Although there is no record of MacIntyre's collection, Gruner was a regular visitor to Fairlight House.Note: One of the later figureheads pertaining to the Australian Impressionist movement, New Zealand-born artist Elioth Gruner (1882-1939) is distinguished as one of the country's most innovative and poetic painters of light, whose work captured the imagination of many throughout the early 20th century. We are delighted to offer The Silver Light of Summer Morn, an assertion of Gruner's artistic prominence, and a landmark of his evolving career.Gruner moved to Australia at a young age, and in 1901 began selling paintings to Sydney's Society of Artists, where his work gradually gained traction. It was not until 1923, however, that Gruner garnered much of his inspiration from his travels across Europe, where pioneers of European Modernism conjured a rethinking of his artistic technique. The paintings of Cézanne introduced him to a high-key palette, whilst those of Gauguin revealed the beauty of expressive brushstrokes and simplified forms. Upon his return to Australia, Gruner's repertoire developed in accordance with his European counterparts - a simplification of subject matter, an increased attention to pattern, and a freer, wider sweep of the brush set him apart from his Australian equals.The Silver Light of Summer Morn is a fine example of Gruner's dedication to plein-air painting, in which we're presented with his new, excited and liberal working of the brush. A vast turquoise sky extends across most of the composition, subsuming a mellow swathe of sand, and a delicate slither of seawater disappears into the bright horizon. Rougher topology in the distance smoothly tapers down to a low vanishing point, convening with the lighter tones of the water's surface. We are not, however, the only admirers of this placid view. To the bottom right two women regard the calm waters with their backs to the viewer, one leisurely reclining beneath a pink parasol, the other standing. A deckchair endorses this site as one frequently revered by visitors, accentuated by more distant figures merrily testing the waters of the calm Pacific Ocean. Nonetheless, we're still drawn to the sprawling sky that dwarfs all the participants in this blissful scene - Gruner's affirmation of the landscape as the most important facet of this masterful work. The atmosphere is palpable; long shadows allude to the early time of day - a raw light often favoured by Gruner. The painting evokes a certain ephemerality, as if the tide will soon rise, consuming the lowly swathe of sand; the seated woman will surely raise and fold her parasol, continuing with the nearby figure for an amble along the beach. The solitary deckchair will not remain on the sand forever, and the light will change as the day progresses. It is this refreshing simplicity of elements - an impression of a calm Pacific morning - which marked Elioth Gruner as an artist of distinguished skill, worthy of receiving the Wynne Prize seven times across three decades of painting. The Silver Light of Summer Morn is a demonstration of nostalgia, and a celebration of local beauty. It references the theory of artist Max Meldrum who proposed tone as the most important element of any painting. Most importantly, however, is that Gruner painted the unpaintable: the element of light itself.
A CHINESE VASE AND THREE BRUSH WASHERS QING DYNASTY The pear-shaped vase with a flared rim and two dragon head-shaped handles, a clair-de-lune brush washer with a chilong applied to the rim, a plain celadon brush washer and a celadon brush washer with incised archaistic key fret, each piece with a mark to the base, 12.5cm. (4) Provenance: a private collection mostly acquired in the 1970s and 1980s.
A George V cut glass scent bottle, with silver mount at hinged lid, monogram engraved, Birmingham 1910, George V silver backed hair brush with engine turned decoration, Sheffield 1934, Edward VII cut glass jar with silver mount, Birmingham 1908, and a pair of late 20thC white metal bud vases. (5)
A cased set of six Art Deco silver coffee bean spoons, together with a silver backed clothes brush, a silver and enamel hand mirror, AF, a silver medallion, a silver plated three piece tea set, AF, a boson's whistle on a gilt muff chain, a small Japanese chest of drawers, a cut glass atomiser and a pack of cards in case (parcel)
A CHINESE BRONZE 'YU LUNG MOUNTAIN' BRUSH REST MING DYNASTY Formed as a mythical creature emerging from a stream at the foot of a three peaked mountain, 12cm, 225g. Cf. Sydney L Moss The Second Bronze Age, Later Chinese Metalwork, no.28 for a similar mountain-shaped brush rest from 17th/18th century. Ł500-800 明 銅製魚化龍筆山
Markey Robinson (1918-1999) Where the Mountains O'Mourne Sweep Down to the Seagouache on boardsigned lower left 91¾ x 122½cm (36.1 x 48.2in)The Oriel Gallery, Dublin (label verso) where purchased by the present owner Markey At The Oriel' by Paul O'Kelly, published by The Oriel Gallery, illustrated on page 2 Markey Robinson was born in Belfast in 1918. He was the son of a house painter and spent time as a boxer and as a merchant sailor. He trained at the Belfast College of Art and was a prolific Irish artist with a distinctive naive expressionist style. His first exhibitions were in Belfast during World War II. His paintings cover a wide range of subjects, but there are certain recurring features. These may appear separately or in combination. Village scenes of cottages in which the gable end of the cottage is distinctive as in this work. Frequently, there are no windows visible in these cottages. Women wearing dark shawls - no facial features are visible. As an artist, Markey Robinson produced artworks with similar elements to those of Matisse, Derain and Picasso (especially his clown and figure studies). His work has also been influenced by the Incas and the Aztecs, as evidenced by his authentic style of bold brush paintwork.
John Kingerlee (b.1936) Kilcatherine Grid (2005-2007)oil on boardsigned, titled and dated 2005-2007 on reverse 38 x 46cm (15 x 18.1in)Acquired directly from the artist; These Auction Rooms, 14th September 2015 Lot 70; Private Collection John Kingerlee was born in Birmingham, England in 1936. After living for twenty years in Cornwall, he moved in 1982 to an isolated farmhouse on the Beara Peninsula in West Cork. He found this place of rocks, seas and majestic skies where nothing is static, to be a source of continuous spiritual invigoration. Kingerlee's alternative outlook on life somehow seems to be in complete harmony both with the space he inhabits and with the art that flows from his palette knife and brush. He has turned his back on the traditional way of seeing and depicting landscape - as a series of parallel planes that are made to appear to recede from foreground to background by the artist's manipulation of linear and aerial perspective. Recognising that perspective itself is a mathematical construct. Kingerlee takes a different approach that is as radical as it is original. He states that he wants his art to recreate the experience of being in and moving through the landscape.
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