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Lot 49
A SMALL MODERN SILVER PHOTOGRAPH FRAME by K.F. Ltd, London1990, with reed and ribbon border, 11cm by 8.5cm, image circa 7.8cm by 5cm; with a similar double silver photograph frame of similar individual dimensions; a silver cigarette box; a silver topped toilet jar; a gilded metal powder compact; and a pewter mould of a Royal Marines drummer
Lot 56
Albert Irvin RA (1922-2015)Tanza (1986)Acrylic on canvas, 152.5 X 183 cm (60 X 72”) Signed and dated (19)’86 versoProvenance: From the collection of the late Gillian Bowler.Exhibited: Albert Irvin Exhibition”, The Hendriks Gallery, Dublin 1986, where purchased by Gillian Bowler.‘Tanza’ (1986), more compact and tighter in its organization than ‘Glenmore’, is also expressive of Albert Irvin’s belief in the power of abstract shapes to convey feeling more intensively than representation. Music, which he saw as the embodiment of this quality was deeply important to him and his taste embraced classical musicians like Rostropovich, but also experimental composers like Morton Feldman. Through his abstract painting he strove for the immediacy of communication with the spectator that music invariably provides. Like Kandinsky, he believed that both art forms employ a language ‘about the world’ rather than ‘of’ it.The basic structural elements in ‘Tanza’ come from a well-tried and tested group, - a strong diagonal, used alone or in slightly varying parallel groupings, often bridged or intersected by a more horizontal one. These are generally accompanied by a range of minor motifs, such as chevrons, quatrefoils, flower head or star-like shapes and circles. Flat areas of colour are interrupted and articulated by splashes and droplets of colour deposited by a flick of a loaded brush or sprayed out from a squeegee. Irvin often arranges torn and cut-out coloured paper onto sections of the canvas to try out colour arrangements and these add a sense of layering, of past and present, before and after to the paintings, along with the idea of constant movement, to and fro, traverses and reverses. The origins of his marks and motifs tell an interesting story too. One of the most powerful influences on Albert Irvin’s work is a celebrated war painting, ‘Battle of Britain’, 1941 (Imperial War Museum, London) by Paul Nash in which the frenzy of the battle is revealed only in the tangle of smoke trails left in the sky by the fighter planes. Irvin points to this abstract tangle as the most powerful evidence of what has gone on during the engagement, and used similar methods to trace physical journeys, their speed, direction, strength and so on in his own work. Similarly, the abstract language of Australian Aboriginal art to record their history offered him a model for his own formal development, but he is careful not to borrow from other artists or cultures unless he has shared their cultural experience. On a visit to Venice in the 1990s he saw carved quatrefoils on the Doge’s Palace and used them widely in his later paintings.Albert Irvin was a tall man and he tended to paint on a grand scale which, combined with his zest for colour, makes his work particularly popular for hospitals, universities and other public buildings around the world. But he was also an expert print-maker, working just as comfortably in that medium, with considerably smaller compositions. Catherine Marshall April 2017
Lot 93
Robert Janz (b.1932)Spring Tulip (1985)A set of six, oil on canvas, each 60 x 38cm (23½ x 15'')All inscribed with title, Panel Six signed and dated (19)'85Oliver Dowling Gallery labels versoProvenance: From the collection of the late Gillian Bowler.Exhibited: 'Robert Janz Exhibition: Moving Pictures', The Douglas Hyde Gallery, TCD, June/July 1985, Catalogue No.3.“In this work I have concentrated on drawing and painting flowers because their life cycles are so compact and succinct - and because their intense functional beauty opposes so powerfully their transience. The content of this work for me, then, is not just time passing time spans, time arcs, time whole”.Robert Janz (1985)
Lot 77
A Vintage Collection of Silver Items ( 3 ) In Total. Comprises 1/ Silver Square Shaped Hinged Compact with Elaborate and Stylised Floral Engraved Decoration to Case. Marked Silver 800. 80.8 grams. 3 x 3 Inches. 2/ A Silver Cased Lipstick Holder with Interior Mirror with Engraved Decoration to Case. Marked Silver 800. Height 2 Inches. 3/ A Fine Silver Cased Comb Holder and Comb, with Engraved Floral Decoration to Body of Holder. Marked 800. 4.75 Inches wide.
Lot 719
FIVE SILVER BOXES comprising: a vinaigrette, wrigglework decorated lid, scroll foliate grille, William Simpson, Birmingham, 1837, an oblong Spanish pill or snuff box with floral and foliate scroll bright-cutting on engine-turned grounds, gilt interior, Plateria Lopez, Madrid, mid 20th century, 7.5cm long, a cigarette case, oblong, plain excepting the engraved crest and inscription, William Neale & Son, Birmingham, 1893, 8.5cm long, a powder compact, engine turned and with gilt border and thumbpiece, mirror set lid and hinged interior cover, Cohen & Charles, Birmingham, 1956, 7.2cm square and another compact, smaller, plain engine-turned, mirror set lid, M. Wachenheimer & Co. Ltd., Birmingham, 1947
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38783 item(s)/page