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Lot 125
Liam Belton RHA (b.1947)Congo Gong and Herb CutterOil on canvas, 50 x 76cm (19¾ x 30)Signed; also signed, inscribed and dated 2016 versoLiam Belton is a well-known and popular figure in Irish art circles. Given the ineffable calm and stillness of his paintings it is somewhat surprising that he first came to attention for political activism as a student in the National College of Art in the late 1960s and early ‘70s, fighting for the reforms that culminated in the college’s re-organisation into the National College of Art and Design in 1971. His political leanings led to attempts to establish free art education for all in Ballymun and Ballyfermot and he spent over twenty years teaching art to people with visual impairments but little of his Beuysian principles are visible in his paintings.Instead his signature still-life paintings represent a distillation of all that is calm, considered and, above all, constructed, rather than overtly representative of social life or ideology. While still-life paintings make up the dominant trope in his work, Belton travelled the country to compile a series of paintings of megalithic monuments in the early 2000s that show his capabilities as a landscape artist, yet retaining essential features of the still-life genre. This can be seen in Carrowmore, Co. Sligo - Dolmen (ca. 2003).However his annual entries to the RHA annual exhibition and other shows tended to be still-life paintings, generally executed in a cool, muted, palette, ranging from creamy white to chocolate, and rendered with a quite extraordinary attention to precision, balance and detail. The content changes only a little. Generally they contain domestic utensils, some of which have an antique quality, and exotic ceramic figures or references to art history in the form of pictures or postcards of work by the great masters; for a time in the past decade, they have included quite garishly coloured items from popular culture such as Disneyland figurines and toy cars, and almost always there is at least one egg, quiet, still and shadow-casting. Most still-life artists love to display their skill at capturing texture. In Liam Belton’s very classical approach, texture is a superficial quality, easily set aside in favour of colour and composition.Pewter and Eggs (2015) and Congo Gong and Herb Cutter (2016) mark a turn away from that brief flirtation with strong colour and pop and, like Carrowmore, they epitomise Belton’s love of clarity, precision and austere colours. What they all have in common is his absorption with space and with the past. The past, represented by the squat stones of the dolmen or the tribal objects and reproductions of artworks, has been reduced to stillness but the careful distancing of one item from another in the still-lifes, or viewer from dolmen in Carrowmore and his other paintings from that series, evokes a space for the stillness to work. Just as the megalithic monuments are weighed down with a sense of time and mortality, the still-life objects also recall art historical memento mori (premonitions of death) as for example in the work of Caravaggio or Dutch 17th century painters. The pervasive presence of an egg in Belton’s still-life paintings may be intended to counter-act that with a suggestion of new life and re-birth, but they also read like a reference to the myth of Giotto’s perfect circle - the test of a great artist. In this case the egg becomes a direct reference to that other perfectly-observed egg in art, the one that dangles, enigmatically, above the Madonna and saints in Piero Della Francesco’s The Virgin and Child Enthroned (c. 1475) in Milan. These are paintings about art first, pondered on, arranged, adjusted, and only about life as a secondary consideration. Even the inclusion of a reproduction of a painting by William Scott in Congo Gong and Herb Cutter, has been chosen less to impress with the artist’s knowledge of the Moderns, but rather because Scott’s emphatic shapes form a perfect co-relative for the shapes of Belton’s chosen objects.A dedicated member of the RHA since 1991, Keeper of the RHA from 1995 -2001 and a former member of the Board of the National Gallery of Ireland, Liam Belton is represented by the Peppercanister Gallery. His work is to be found in major Irish art collections.Catherine MarshallAugust 2019
Lot 66
Deirdre McLoughlin (20th/21st Century)Kuai (1996)Ceramic, 32 x 24 x 14cm (12½ x 9½ x 5½)Provenance: With The Peppercanister Gallery, Dublin.Exhibited: 'Innovation from Tradition', Brussels 1996.Deirdre McLoughlin, the Dublin born ceramicist studied at Trinity College before relocating to Amsterdam to work in the studio of Rosemary Andrews where she developed her skill and passion for working with clay. Unlike other materials used by sculptors, such as stone or timber, which is cut from a shape that is already existing, with clay the artist can approach it without the restrictions of any predetermined form. McLoughlin remarked of her work ‘‘I begin from the empty space in my mind and I work into the empty space before me.’ This image of her pouring herself and her ideas into the material and moulding it from the inside out, is reflected in the abundance of vessel-like forms in her work. Japanese ceramics have a significant influence in McLoughlin’s work and she spent a number of years in Kyoto working under the tutelage of the Sōdeisha Group. She set up a studio there in 1984. A strong adherence to form is a predominant feature of Sōdeisha’s work and in turn this has been keenly adopted by McLoughlin in her own practice. Her making process is exacting. She uses subtle glazes, which surprise the viewer, having the appearance of clay but the texture of stone. While her sculptures often have a simple, recognisable shape, they can extend at odd and unexpected angles. And yet there is an inherent flow and dynamism to their form. Now based full-time in Holland, she is represented by the Galerie Franzis Engels in Amsterdam and exhibits extensively in Europe. In 2004 and again 2014 she was awarded the prestigious Westerwald Prize, Ceramics of Europe and most recently was amongst the finalist for Loewe Craft Prize, 2018. Her work is part of numerous collections in Ireland including the Hunt Museum in Limerick and the Arts Council of Ireland, Dublin.Niamh Corcoran, September 2019
Lot 70
Sonja Landweer (b.1933)Elongated OvoidCeramic, 23 x 35 x 20cm (9 x 13¾ x 8)Inscribed on artist's label to baseSonja Landweer was born in Holland and trained there as a ceramic artist, achieving early international renown as one of the finest artist-potters of her generation, before being recruited to come to the Kilkenny Design Workshops in the 1960s as an art expert. Prior to that, she had shown her ceramics in Holland, Japan, West Germany, Argentina, USA, Italy, Yugoslavia and Ireland and had been featured in publications on the top contemporary ceramic artists of the world. She also had a keen interest in ethnic art from many cultures and collected fine examples, as well as diversifying her art practice to make avant-garde jewellery and sculpture using indigenous materials. With painter Barrie Cooke she was central in organising fascinating exhibitions of international applied arts as part of the Kilkenny Art Festival for many years. In recent years, she has begun to cast her ceramic sculptures in bronze. Her forms are inspired by natural shapes such as exotic seeds and organic objects and she is celebrated for her innovatory glazes and subtle patinas. She has shown her art worldwide and is included in many prestigious private and public collections, including the Stedelijk van Abbe-Museum in Eindhoven, the National Self-Portrait Collection in Limerick and the Ulster Museum in Belfast. She is a member of Aosdána since its inception and has shown regularly at the Hendriks Gallery and the Peppercanister Gallery in Dublin, as well as in many group and museum exhibitions internationally.
Lot 518
Omega, Speedmaster Dark Side of the Moon, Ref. 311.92.44.51.01.007, Black ceramic wrist watch, no. 86710205, circa 2018 Movement: Cal. 9300, automatic chronograph, 54 jewels, adjusted to five positions Case: Black ceramic case, snap display case back Bracelet/Strap: Omega black nylon strap with deployant clasp Size: 41mm Signed: Dial, movement, crown, strap, clasp Accessories: Omega box, international warranty card, pictograms card, instruction book, pouch, polishing cloth, outer card packaging
Lot 440
MOORCROFT POTTERY & DENNIS CHINA WORKS GROUP OF FIVE WARES, EARLY 20TH CENTURY comprising an OVOID VASE, with painted initials WM, 23cm high; an 'ORCHIDS' VASE, with painted initials WM, 18cm high; and a 'CLEMATIS' VASE, 14.5cm high; together with a GINGER JAR & COVER, 11cm high, all with impressed maker's marks; and a DENNIS CHINA WORKS CERAMIC JAR & COVER, after a design by William Morris, decorated with an all over design of scrolling foliage, with printed factory mark DENNIS CHINA WORKS/ rmc 96 and painted marks D.C.W./ AFTER W.M./ VMW/ NO 1, 13cm diameter, 10cm high (Qty: (5))
Lot 146
ENGLISH SCHOOL AESTHETIC MOVEMENT CERAMIC WALL PLATE, CIRCA 1880 hand-painted, depicting a 'Boy with a Flute' after Benedetto Luti, impressed marks 2/ 77, painted marks LUTI/ A. BUTTS/ 37325, 31cm diameter; together with SEVEN PLATES, depicting months of the year, painted artist's mark A. BUTTS (Qty: (8))
Lot 509
§ DUNCAN GRANT (1885-1978) 'SAPHO', DESIGN FOR A DINNER PLATE watercolour and pencil, later framed with exhibition label verso (Dimensions: 25.5cm diameter)(25.5cm diameter)Footnote: Provenance: Anthony d’Offay Sally Hunter Fine Art Limited, London Purchased by Lady Dundee Literature: Design & Decoration 1910-1960 (London: Spink, 1991), pp. 36-37. where designs from the service are illustrated Omega and after: Bloomsbury and the Decorative Arts , Thames & Hudson 1981, plate 49 illustrates the dinner service decorated by Vanessa Bell and Duncan Grant on Wedgwood blanks Note : The current lot is a design for a plate, which formed a large dinner service, commissioned from Vanessa Bell and Duncan Grant by Kenneth Clark, the late Lord Clark in 1932. The Famous Women Dinner Service was a 50-piece ceramic dish set featuring portraits of famous women from history, completed between 1932 and 1934. The subjects ranged from Hollywood star Greta Garbo to the Queen of Sheba to Marian Bergeron, who in 1933 became the youngest-ever Miss America at age 15.
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