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Lot 166
Mark O'Neill (b.1963) DRAWING ROOM OF A HOUSE IN HOLLAND PARK, LONDON, 1998 oil on board signed and dated lower right Commissioned for the Collection of Number 10, Lower Ormond Quay, Dublin;Whyte's, 28 November 2006 lot 164;Private collection Mark O'Neill lives and works in County Wexford and is celebrated for his appealing style and wide ranging subject matter which ranges from interiors and still lifes to landscapes, animal portraits and genre scenes. O'Neill lived all over the world during his childhood from Mauritius to South Africa, Nigeria and Malta before settling in London where he studied at the Kingston College of Art. After graduating with a first class Honours Degree in Fine Art he found success as an illustrator for numerous publications. However, he later moved to Ireland - his maternal family home - and pursued his passion as a painter. Sell-out shows soon followed with the Forge Gallery in County Louth and the Frederick Gallery, Dublin among others. Since his first appearance on the auction scene in the 1990s O'Neill has become one of the most popular and enduring contemporary artists to attract bidders both in Ireland and internationally. 38 by 46in. (96.5 by 116.8cm)
Lot 31
Rosaleen Brigid Ganly HRHA (1909-2002) NUDE, 1951 oil on canvas laid on board signed in monogram and dated lower right; with inscribed artist's label on reverse; also with artist's retrospective exhibition label on reverse Collection of a Ms Elizabeth Guinness, 1986;Private collection 'Brigid Ganly Retrospective Exhibition', Hugh Lane Municipal Gallery of Modern Art, Dublin, 24 April to 11 May 1998;'Irish Women Artists 1870-1970 - Summer Loan Exhibition', 8-31 July, Adam's, Dublin & 7 August to 5 September, Ava Gallery, Clandeboye, Co. Down, catalogue no. 94 Eds. Christina Kennedy and Mamie Winters, 'Brigid Ganly Retrospective Exhibition', Hugh Lane Municipal Gallery of Modern Art, Dublin, 1998, p.21 (illustrated) The Gorry Gallery hosted a retrospective of the artist's work in 1987 and later there followed a retrospective in the Hugh Lane Municipal Gallery in 1998. Brigid Ganly (neé O'Brien) was the daughter of RHA past president Dermod O'Brien and sister-in-law to Kitty Wilmer O'Brien. Born in Limerick but raised in Fitzwilliam Square, Dublin, Ganly entered the Metropolitan School of Art in 1925 where she studied painting under Seán Keating and Patrick Tuohy and sculpture under Oliver Sheppard. Her first exhibit with the RHA was in 1928 and she was elected Associate of the RHA the same year. Although she was an accomplished sculptor (she won the California Gold Medal for the Taylor Scholarship in 1929) it was in painting where she focused her talents. In 1930 she won the Taylor Scholarship and three years later travelled to Italy taking a studio in Florence for six months. In 1935 Ganly had her first solo show with the Dublin Painters Gallery, was elected a full member of the RHA and completed her first commission for All Saints Church, Blackrock. The following year she married Andrew Ganly, B.D.S. The period between the mid 1940s and early 1950s Ganly exhibited with Kitty Wilmer in Dublin, travelled to America to execute portrait commissions and represented Ireland in an Exhibition of Contemporary Irish Painting. Later she travelled to Paris to study briefly under André Lhote. On return to Ireland a solo show took place at the Dawson Gallery (1965) and by the late 1960s her conflicting attitudes with RHA on the matter of the Modern school of painting and the 'Living Art' group of artists" led to her resignation from the Academy (1969). She was made an Honorary member of the RHA in 1972. Ganly continued to show work nationally during the 1970s and 1980s and a retrospective exhibition was held in the Gorry Gallery, Dublin in 1987 and later at the Hugh Lane Municipal Gallery in 1998. Her work can be found in the collection of the Hugh Lane, Crawford Gallery, Cork and the National Self Portrait Collection among others. 21 by 18in. (53.3 by 45.7cm)
Lot 41
Gerard Dillon (1916-1971) ITALIAN WITH FOWL, 1948 oil on board signed lower left; titled on reverse; with Irish Exhibition of Living Art label on reverse Purchased directly from the artist;Private collection;Adam's, 1 June 2011, lot 80;Private collection Irish Exhibition of Living Art, Dublin, 1949, catalogue no. 65 The inspiration for Italian with Fowl is Gerard Dillon's visit to Italy in the summer of 1947. Travelling with his friend Pino Saglietti, who had family in Borgotaro in Northern Italy, Dillon visited Florence, Lucca and Parma where he saw some of the highlights of Italian art and architecture. Much to Pino's chagrin, Dillon was not impressed by the wonders of Italian art history and reputedly told his friend, 'I can't be bothered with all those old things. I am only interested in the world around me and the people in it. Anyhow I can't paint in Italy, everything is too bright and gleaming'. 1. Despite this statement, Dillon found that he could work once they returned to the country. He found the rustic way of life there much more interesting and inspiring than the grandeur of Italian history and joked to Pino that Borgotaro was not Italy but 'Ireland up the hills'. 2. Dillon exhibited three paintings inspired by his time in Italy in the Exhibition of Living Art in 1949. Italian Washerwoman, Memory Pool and Italian with Fowl, all depict ordinary villagers going about their daily work. In Memory Pool a woman imagines a young, handsome man whose image appears in the pool. The boy's reflection is reminiscent of the figure in Italian with Fowl and both share the dark good looks that Dillon admired in his friends Dan O'Neill and Tom Davidson.If we compare Italian with Fowl with contemporary images that Dillon painted in the west of Ireland it is only the characteristic shape of Cypress trees and the architecture of the church that suggest the Italian setting. It is tempting to read some cultural significance into the black and white hens, though whether they are being prepared for sport or for slaughter is unclear. Arguably, if it were not for the title, it would be possible to situate this image in the west of Ireland where Dillon found so much of his inspiration. Dr Riann CoulterOctober 2017 1. Gerard Dillon, quoted in Gerard Dillon: An Illustrated Biography, James White, Wolfhound Press, Dublin, 1994, p. 58.2. Ibid. 24 by 20in. (61 by 50.8cm)
Lot 640
METTERNICH PRINCE KLEMENS VON: (1773-1859) Politician and Statesman, one of the most important diplomats of his era. Austrian Empire's Foreign Minister and Chancellor 1821-48. A.L., one page, 8vo, Stechlin, 17th December, n.y., to Countess Bombelles, born Brun, in German. Metternich states `Dear baroness! Thousands of apologies. I am near Stechlin with the Keunitz family who will be leaving tomorrow. They already proposed me to meet on Tuesday and I accepted with pleasure; I beg you to cancel Tuesday and Wednesday plan and please come tomorrow. Have a nice day Baroness.´ With integral address leaf partially clipped, bearing a paper seal. Professionally repaired to the verso. F £100-150 Ida Brun (1792-1857) Adelaide Caroline Brun, known as Ida de Bombelles, was a Danish singer, dancer, and artist in the mimoplastic art genre. Her art captivated contemporary artists in Europe such as Goethe, Schiller. She became just as famous as Lady Hamilton.
Lot 76
Seán Keating PPRHA RSA RA (1889-1977) Homo Sapiens: An Allegory of Democracy (1929-30)Oil on canvas, 115 x 95cm (45¼ x 47¼'')Signed; inscribed with title 'Homo Sapiens' on label versoWaddington Gallery 1930: RA London 1932: Oldham Art Gallery 1932: Atkinson Art Gallery, Southport 1932: Usher Art Gallery, Lincoln 1932: Exhibition of Irish Art, Chicago World’s Fair 1933: RHA 1934: Waddington Gallery 1940, 1941: Contemporary Irish Art, National Library of Wales, Aberystwyth 1953: Seán Keating Retrospective Exhibition, Hugh Lane Gallery 1963: RHA 1966: Collection of the Artist: Private Collection.Unlike earlier depictions of Ireland’s heroic citizens, Seán Keating’s Homo Sapiens: An Allegory of Democracy presents universal man estranged from self-created modernity. The painting was Keating’s only submission to the Royal Academy Exhibition, London, in 1930, where it was described by one critic as a ‘cry of despair in paint, an acidly truthful satire on human progress’. Begun as the Wall Street Crash laid the vagaries of capitalism bare, the artist deliberately depicted his model as ill at ease, confused, and unstable, as if to represent the state of the world at the time. His personal notes on the painting reveal the true meaning:‘In all ages and cultures, dress, particularly the hat, has played an important part as a means of arousing emotion, enthusiasm, and fear. So that today an inherited instinct enables us subconsciously to classify men according to their hats … Homo Sapiens revolves around the repulsive gas mask, and the idiotic tin hat … The picture might be described as a criticism of the soundness of man’s claim to sapience, expressed in terms of hats, or it might be called a portrait of the hat-fearing animal’. (1)Moreover, and with sceptical reference to manufactured modernity, Keating further commented that the painting represented a ‘universal’ depiction of man as singularly unimproved in ‘mind or body’ by the nature and extent of his activities over time. By activities, the artist meant ‘deification of the law, jurisprudence and academia’, ‘imperialist aggression’, ‘brute force’, and ‘the hounding of the common man by dignitaries of all churches’, symbolised in the painting by the presence of attendant hats. Homo Sapiens: An Allegory of Democracy was reproduced as poster by Victor Waddington in 1930, and later that year, as if to underscore his opinion of the modern human condition, the artist had the image made into a Christmas card for family and friends. Painted before the Second World War, and exhibited by the artist in various shows until 1963, the allegorical meaning in the work has as much relevance in today’s contemporary world has it had in 1930.Dr Éimear O’ConnorOctober, 2017Author of Seán Keating: Art, Politics and Building the Irish Nation (Irish Academic Press: Kildare, 2013)1. Reproduced in Éimear O’Connor, Seán Keating: Art, Politics and Building the Irish Nation (Irish Academic Press: Kildare, 2013), pp. 144-45, and fn 60 and 61.
Lot 100
Daniel O'Neill (1920-1974)Doll on the BeachOil on canvas, 34.5 x 44.5cm (13½ x 17½'')SignedProvenance: With the Victor Waddington Gallery, London; The Waddington Galleries, Montreal (labels verso); later sold these rooms, Important Irish Art Sale, March 2000, Catalogue No.125, where purchased.Exhibited: 'Daniel O'Neill, Loan Exhibition of Paintings 1944-1952’, CEMA Belfast Musuem And Art Gallery, Stranmillis, 26th March-12th April, 1952, Cat No. 9.Born in Belfast, Daniel O’Neill worked as an electrician and painted in his spare time until the dealer Victor Waddington encouraged him to devote full time to painting. In 1943, he held his first show in Dublin with his close friend, Gerard Dillon at the Contemporary Picture Galleries, and after the success of his first one man show in 1946 with The Victor Waddington Galleries in Dublin, O’Neill held regular solo exhibitions with Waddington, who organized his paintings to go on touring exhibitions in America, Amsterdam, Whales, Scotland and London. Executed in 1947, ‘Doll on The Beach’ was first exhibited in a group exhibition with Nevill Johnson and Belfast friends, Gerard Dillon and George Campbell in September, 1947 at Waddington’s Gallery. In the same year, O’Neill contributed to the Royal Academy’s summer show in London, and his work was selected to exhibit in New York, at the Associated American Artist’s(AAA) Gallery on 5th Avenue. Reviewing the 1947 exhibition at Waddington’s, one critic remarked, ‘…he [Daniel O’Neill] is working his way out of a previously rather limited range of languid human forms; the colours of some dolls dresses that he found in a museum have fascinated him, and with reason. O’Neill has achieved popularity remarkably quickly…’ (The Irish Times, 20/9/47). The painter, Ralph Cusack loaned ‘Doll on The Beach’ in O’Neill’s 1952 Retrospective in the CEMA organized show at the Belfast Museum and Art Gallery. The exhibition consisted of forty-five paintings dating from 1944 and most were borrowed from patrons which included the Earl of Rosse, Lord Moyne, Lord Killanin, Zoltan Lewinter-Frankl, and the Belfast Gallery. The exhibition in the Belfast Gallery was O’Neill’s first appearance in his native city since his first group show in 1940 at the Mol gallery in Belfast. In contrast to his retrospective exhibition, all of the seven paintings at the Mol gallery were unsold. Although this painting is difficult to interpret, O’Neill’s vision is deeply personal and the artist’s choice of palette is deliberate. Combining thin transparent glazes with richness of colour, O’Neill liked to achieve dramatic effects with elements of melancholy. Mannequin type figures can appear calm in a dramatic setting. His early influences of the Old Masters are visible in these studies of women who are often depicted in sparse, lonely landscapes. Here rich tones of pink are set against muted colours. In 1947, dolls and puppets feature strongly in the artist’s oeuvre and are imbued with a poetic fantasy. The model may represent his wife, Eileen who had dark eyes and black hair or be someone from his imagination. The reclining model in an elaborate outfit appears strangely out of place on a beach. Her expression and posture is constrained and awkward. The fan and parasol suggest the model needs protection from the sun, yet instead of sunshine, a darkening sky creates a feeling of foreboding. John Hewitt, a critic and museum curator of the Belfast Museum personally knew and admired O’Neill’s work in the 1940’s. Perhaps it is worth noting what Hewitt stated in the introduction in O’Neill’s retrospective catalogue 1952, ‘It is easy enough to recognize Daniel O’Neill’s individual quality, but a much more difficult matter to define it.’Karen ReihillOctober, 2015
Lot 26
Louis Le Brocquy HRHA (1916-2012)Pigeon Landing (1984)Oil on canvas, 50 x 50cm (19¾ x 19¾'')Signed with initials; signed and dated (19)'84 versoInscribed with title on stretcher (AR 515)Exhibited: 'Louis le Brocquy: Procession of Lilies and Other Work' exhibition, The Taylor Galleries, Dublin, March/April 1985, Catalogue No.29, where purchased; 'Louis le Brocquy, Image, Single and Multiple 1957-1990', Japan touring exhibition, The Museum of Modern Art Kamakura, January/February 1991, Itami City Museum of Art, Hyogo, February/March 1991, Hiroshima City Museum of Contemporary Art, April/May 1991, in association with the Irish Embassy.Literature: 'Louis le Brocquy, Image, Single and Multiple 1957-1990', illustrated p.74.Pablo Picasso's globular, iconic spirit was preoccupying Louis le Brocquy when in 1984 he took time out to paint this lyrical Fantail Pigeon - 'Pigeon Landing’. While Picasso was ''a being in whom the power and joy of life were uniquely personified'' for the artist. Here is sheer, effervescent pleasure in life and liveliness hovering at the moment of landing. Unguenty swathes of oil, applied as though breathlessly, must achieve the almost impossible task of picturing fluttering, feathery being. Slow, laborious matter - the heavy oil - meets rapid, gestural action. The art is in the moment. The very delightfulness of the image and the sight that inspired it draw attention away from the challenge at stake. How can oil paint make movement appear Viewers may wonder how such flickering, flirtatious fantails seem to scatter lines of movement in internally-mirrored arcs, using painted marks that echo the moving pictures of twentieth-century cinema as well as Duchamp's early experiments in capturing motion and velocity in two dimensions. ''Perhaps this is simply a temporary release from the heads and their rather intense reflective consciousness, their tragic aspect,'' le Brocquy thought aloud to an interviewer that year, ''a return to a simple state of being, emerging in its own nature, filling out its little volume of reality with the various natural possibilities of its form. Picasso's own painted doves had worked allegorically as a way of picturing peace and love, of imaging aspirations beyond everyday limitations. Not for nothing did the cliché speak of being 'free as a bird'. The birds signalled wonder.”Yet Le Brocquy's pigeons reached further back into the decaying Georgian streets of his Dublin childhood as well to the Parisian boulevards he would stroll later. An early dove painting appeared in 1955. Then in 1956, le Brocquy found himself feeding a flock of white doves who deigned to reside in the courtyard of Casa Pezzoli, his lodgings while staying in Foggia-Ischia. He sketched them and made images in oil. At Les Combes, Le Brocquy's French home, his house and studio hung on a vine-clad valley where fantail pigeons soared and dived by day, gliding back to their dovecotes each evening for an interlude of billing and cooing. Here began the specific series to which this painting belongs. Our thanks to Medb Ruane whose previous writings on the artist formed the basis of this catalogue entry.
Lot 35
William Scott OBE RA (1913-1989)Blue and White (1964)Oil on canvas, 44 x 44cm (17¼ x 17¼'')SignedProvenance: From the collection of the architect Michael Scott and his sale, Christies Dublin, May 1989, Lot No. 89. Exhibited: 'William Scott: Recent Paintings', The Hanover Gallery, London, September - October 1965, Catalogue No.6; 'William Scott', The Dawson Gallery, January - February 1967, Cat. No. 14, where purchased; ‘Modern Irish Painting’, Major European Touring Exhibition which started in Helsinki October 1969 and travelled to Goteborg, Norrkoping, Stockholm, Copenhagen, Bielefeld, Bonn, Saarbrücken, London, Leeds, Glasgow, Dublin, Donegal and Mayo. Literature: 'William Scott: Catalogue Raisonne of Oil Paintings', Catalogue No.570, illustrated.When the late Anne Crookshank, as a young curator of visual art at The Ulster Museum in Belfast in 1958, appealed to local pride and begged her fiscal overlords to agree to purchase a painting by William Scott - a local man, if not actually born in Ulster, at least raised and educated there, she played up the considerable fame he had just acquired as Britain’s highly acclaimed representative in the Venice Biennale of that year. However, despite his fame and the fact that one of his Venice paintings had immediately been purchased and donated to the Metropolitan Museum of Modern Art in New York, she still felt it necessary to ask her colleagues at the Arts Council in England to include it in a travelling exhibition they were organizing of his work, so that by the time her trustees had a chance to view their new acquisition, they would have adjusted to its modernity. Her strategy paid off. While the painting was touring, Scott was commissioned to paint the biggest mural painting in Ireland at Derry’s Altnagelvin Hospital, a great reassurance to her trustees. The purchase went on to raise the profile of contemporary art at the Ulster Museum to the level that under Anne Crookshank the collection there led the field in Ireland for buying good contemporary art.Blue and Whites was painted in 1964, just 6 years after the Ulster Museum’s purchase. In many respects, it can be seen as a continuation of the abstract formal language of the hospital mural but, perhaps more importantly, it connects Irish art directly to the greatest precursors of International Modernism. The irregular white rectangle that floats upon the square white ground pays a discreet homage to Malevich’s ground breaking ‘White on White’ in the early days of twentieth century modernism, while the luscious blue triangle thrusts itself outward towards the viewer, just as Franz Klein’s blue paintings had thrust themselves at Scott when he first encountered that artist’s work in New York a decade earlier. Anne Crookshank, who maintained her regard for him over the decades remarked that ‘He handles blue with the greatest skill and achieves superbly luminous passages.’ In this painting that is augmented by the textural impact of the paint itself, applied in thick downward strokes.The painting does exactly what Scott intended it to do; it presents a dialogue between the elements of painting itself, between the formal thrust of the blue triangle and the two levels of white ground from which it emerges, without recourse to any narrative or literary qualities. The drama of space, light, texture and colour are all manifested through the artist’s manipulation of them in a way that is coherent and self-contained, and utterly compelling. Scott was quoted as saying about his work that ‘what matters to me is the indefinable’. He achieves that in this painting through the elements of the medium itself, which in his use of them, offer more than the sum of their various parts. It is no surprise that the architect, Michael Scott, that guru of Modernism in Ireland was one of the owners of this work in its earlier life. Catherine MarshallOctober 2017
Lot 36
Basil Blackshaw HRHA RUA (1932-2016)Night Rider (2001)Acrylic on canvas, 152.5 x 213.5cm (60 x 84”)SignedProvenance: The Eamonn Mallie Collection, purchased directly from the artist.Exhibited: ‘Basil Blackshaw - Paintings 2000-2002’, The Ulster Museum, December 2002 - May 2003, Cat. No. 5; ‘Basil Blackshaw at 80’ Retrospective, The FE McWilliam Gallery, Banbridge, May - October 2012, The RHA Gallery Dublin January - February 2013, The Gordon Gallery, march 2013, as part of the City of Culture.Literature: ‘Basil Blackshaw - Paintings 2000 - 2002’, Ulster Museum, illustrated p.22; Irish Arts Review Front Cover illustration, Winter 2002, inside article by Brian McAvera, picture illustrated again p.59; 'Basil Blackshaw’ by Eamonn Mallie, 2003, illustrated Plate 16, p.365; ‘Basil Blackshaw at 80’, FE Mc William Gallery,2012, Fig 25; 'Basil at 80', The Gordon Gallery, 2013, illustrated p.25.It was not uncommon for Basil Blackshaw to carry an image about in his head for over half a century.He was a consummate romantic, passionate about everything about which he was passionate - women, horses, dogs, markets people, edge of the town people, travellers, horse racing, boxing, cockfighting, 'rare characters,' the craic, politics, poetry, the countryside, giving to the poor and so on.Among his favourite 'Pictures' in the cinema were Westerns and he loved cowboy novels when he was young. Enter 'Night Rider' from Blackshaw's fantasy world. More often than not his images were of himself playing out his fantasy. He worked and owned horses all his life. Such is the control of the rider in 'Night Rider' here that we know Basil is in charge. 'Night Rider' fits into what would be his 'late period' - always returning to earlier themes and subjects but much more psychological in interpretation. The rider's eyes speak volumes about his character ... he emits danger signals. He is 'a down looking thief' who would not take prisoners. One senses a gun is but one hand movement away.What is remarkable about this work is Blackshaw's choice of colours. They convey a sense of menace. My recollection of Westerns way in the distant past is one of the sound of distant drums, the pounding of horses' hooves on sun drenched plains above deep river sunlit valleys. We are however dealing with Blackshaw here - the art delinquent - the re-maker of images seeking out the otherness of an event or happening. One can image the muscularity which the artist brought to this large painting. I can still see him stabbing the canvas with a lick of paint - retreating only to attack another area with the same brío. This was war on a canvas. Blackshaw often compared his picture making to boxing - throwing punches, stepping back, all the time ducking, diving and contorting his wiry frame in pursuit of his dream in paint. My own experience of sitting for my portrait bore testimony to this extraordinary ritual of picture making by Blackshaw. As to the presence of the large yellow cross-like mark to the left of the canvas - Blackshaw regularly explained to me the composition needed that mark to give the work balance. The painting wouldn't be right without that mark he protested. Blackshaw's Spanish contemporary - Tapiès regularly uses a cross-mark too, in his oeuvre. I can't help thinking that that 'cross' notation invokes the notion of death. Blackshaw unashamedly claimed I steal ideas from good artists and bad artists but what you do with the theft is what matters. He asked me to establish if it would be possible to get a look at a large collection of Lucian Freuds on this island. I managed to arrange this. Observing Blackshaw scrutinising the Freuds was instructive. I thought he was going to lick the canvasses. He appeared to be in a trance, his eyes fixed on every square inch of the paintings. A year or two after the execution of 'Night Rider' Blackshaw told me do you see that grey triangle of paint on the side of the horse's neck - I stole that idea from one of Freud's paintings that morning you took me to see the works. It was what he did with the theft that mattered. It helped him resolve a problem. Eamonn Mallie
Lot 49
Jack Butler Yeats RHA (1871-1957)By Merrion Strand (1929)Oil on canvas, 35.5 x 53cm (14 x 21'')SignedProvenance: From the collection of Richard McGonigal SC who purchased it at The Contemporary Picture Galleries, 1940; Later in the collection of Aer Lingus, purchased circa 1965 and their sale, Dublin, November 2001, where purchased by current owners.Exhibited: ‘Jack B. Yeats’, The Alpine Club Gallery, London, February 1929, Cat. No. 15; ‘Jack B. Yeats’, Engineers Hall, Dublin, October 1929, Cat. No. 13; ‘Jack B. Yeats’, Contemporary Picture Galleries, Dublin, October - November 1940, Cat. No. 6; ‘Jack B. Yeats National Loan Exhibition’, NCAD Dublin June - July 1945, Cat. No. 70; ‘Jack B. Yeats’, Waddington Galleries, London, February - March 1965, Cat. No. 7; ‘Irish Art 1900 - 1950”, ROSC Chorcaí, The Crawford Gallery, Cork, December 1975 - January 1976, Cat. No. 155; ‘Jack B. Yeats’, Hugh Lane Municipal Gallery, Dublin, June - October 1988, Cat. No. 60 (Label verso); ‘Art Inc Exhibition of Art from Corporate Collections’, Cothú Guinness Hop Store, Dublin, April - May 1991, Cat. No. 6.By Merrion Strand is a wonderfully freshly coloured work painted in the late 1920s in the period in which Jack Yeats was moving into his later more expressionist style of painting. It depicts a young woman standing at a stall with a view of Dublin bay behind her. The purple of the Wicklow mountains, possibly the Sugar Loaf, can be deciphered beyond her left shoulder. On her right another woman sits on a wooden deck-chair with a large bouquet of flowers in her arms. The two figures are women who have come to sell flowers and fruit to the pleasure seekers and holiday makers who flocked to beach at this time. The outline of several of these day trippers can be deciphered on the sand and in the waters behind. Some stride across the blue of the sea, a reference to the nature of the current at Merrion strand which is notable for its expanses of shallow waters at low tide. The subject of working class women recurs in many of Yeats’s paintings of the 1920s revealing both a sentimental and sympathetic interest in them. Among the most notable are Paper Bags for Hats (1925, Private Collection) and Flower Girl, Dublin (1926, National Gallery of Ireland). Like By Merrion Strand these bring some of the most impoverished and overlooked citizens of Dublin into focus. The composition of the woman silhouetted against the sea and sky is also very similar to that of By Drumcliffe, Long Ago, (1923, Private Collection), a work that is based on a memory of County Sligo. The pale blues and touches of white and yellow in the work produce the effect of sunlight on a bright summer’s day. The white of the central figure’s arms and neck compared to the darker tones of her face subtly suggest the demarcation of her tan line. This intimates that this is one of the first hot days of the year. As in Yeats’s other late work the loose application of paint evokes movement of light, air and the figures most notably in the stall holder herself whose head is turned to look back towards the viewer’s space. The painting was included in an important one-man exhibition of Yeats’s work in 1940, the first solo exhibition of his work at the Contemporary Picture Galleries in Dublin. It was bought at this show by Richard MacGonigal, a notable collector of his work. The exhibition encouraged the development of Yeats’s reputation as one of Ireland’s foremost modern artists leading to his adoption by Victor Waddington during the war years, in whose gallery Yeats’s status continued to flourish. Dr. Róisín Kennedy
Lot 54
Jack Butler Yeats RHA (1871-1957) A Pub in Devon (1890)Indian ink, 37 x 53.3cm (14½ x 21'')Signed and dated (18)90Provenance: Previously with Theo Waddington Fine Art, London (label verso).A young man, smartly dressed in riding breeches, is being confronted by a stern pub landlord. Yeats provides clues to the nature of the dispute. Two prominent signs above the bar refer to payment and to the rules of the establishment in this regard, based on past experience. ‘Chalk is useful say what you will. But it don’t pay ....’ and ‘Old Trust is Dead. Bad Pay Killed Him’. Clearly the naive young man has not paid his account and the fact that his hands are thrust deep into his pockets suggests that he is not in a position to do so. Above the wide gap between the two men, hanging over the fireplace, is a large picture of a volcano erupting. This indicates that the barman’s calm exterior will not last long. The fact that the regular clients have retreated outside the door from where they can safely observe the proceedings also suggests that an outbreak of temper is expected. This inclusion of onlookers is a typical trope of Yeats. It alleviates the tension and allows the viewer to participate in the drama by empathising with these figures. The final confirmation of a showdown comes from the two large settees which have been turned inwards to the fireplace, barricading those seated on them off from the inevitable tirade. This detailed drawing alludes to Yeats’s time in Devon where he bought a house in 1895, and where he sketched the antics of local farmers and labourers. Carefully scrutinized, it conveys his ability to extract drama and humour from his observations of contemporary life. Similar to the type of wit displayed in his cartoons, the complexity of the detail makes this a more ambitious work, in which many of the themes of his later art is evident. It is an early exploration of the world of consumerism that he was to develop in later works such as the Country Shop (1912, National Gallery of Ireland) and in several oil paintings. It is also a delightful representation of an encounter between youth and age and between different social classes in which the arrogance of youth clearly does not know what it has let itself in for. Dr Roisin Kennedy
Lot 394
David TinkerShellback WatercolourSigned and dated 03115823.5 x 54cmIMPORTANT: ***Artists resale rights may be applicable to this lot*** CONDITION REPORT: The painting is framed and glazed, there does appear to be a tear that has been over painted about half way along the top David Tinker was one of the stars of the Welsh Group's 50th anniversary retrospective at the national museums and galleries of Wales. In 1956, he was co-founder of the radical exhibiting co-operative 56 Group Wales, acting as chairman of the Welsh Group for 15 years. At Cardiff, his students had included Sir Anthony Hopkins and the painters Ivor Davies and Professor Glyn Jones. In 1962, he moved to the University College of Wales, Aberystwyth, leading its growing art school until his retirement in 1986. Tinker sat on the Welsh Arts Council's art panel and the executive of the Contemporary Art Society for Wales. Examples of his work are held by the Arts Council of Wales and the National Gallery in Cardiff. He was awarded the Queen's Medal for Art in 1977.
Lot 408
David TinkerThe Magic MoundOil on boardInscribed versoArts Council of Great Britain Welsh Committee label verso76 x 54.5cm ***Artist resale rights may apply to this lot*** CONDITION REPORT: David Tinker was one of the stars of the Welsh Group’s 50th anniversary retrospective at the national museums and galleries of Wales. In 1956, he was co-founder of the radical exhibiting co-operative 56 Group Wales, acting as chairman of the Welsh Group for 15 years. At Cardiff, his students had included Sir Anthony Hopkins and the painters Ivor Davies and Professor Glyn Jones. In 1962, he moved to the University College of Wales, Aberystwyth, leading its growing art school until his retirement in 1986. Tinker sat on the Welsh Arts Council’s art panel and the executive of the Contemporary Art Society for Wales. Examples of his work are held by the Arts Council of Wales and the National Gallery in Cardiff. He was awarded the Queen’s Medal for Art in 1977.
Lot 1388
Antiquarian Books - Art History/Portraiture - Bates (William), The Maclise Portrait-Gallery of "Illustrious Literary Characters", With Memoirs Biographical, Critical, Bibliographical & Anecdotal Illustrative of the Literature of the Former Half of the Present Century, With Eighty-Five Portraits, first edition, Chatto and Windus, London 1883, illustrated with full-page monochrome lithographs, contemporary buckram as issued, thick 12mo; Steuart Erskine (Mrs), Beautiful Women In History & Art, Printed at The Chiswick Press for George Bell & Sons, London 1905, xi, 283pp, the illustrated throughout with plates engraved by Hallett Hyatt of The Rembrandt Studio, allegorical title-page and ornamental headpieces from designs by W.L. Bruckman, pictorial blue cloth, contemporary bookseller's label W. Erskine Mayne, Belfast, 4to [2]
Lot 801
1st century BC-1st century AD. An openwork bronze lyre-type mount with tear-shaped upper register with 'hidden face', similar arm to each side with opposite crescents; a pair of punched circles to each section, remains of ribbed decoration; attachment loop to the reverse. 47.47 grams, 80mm (3 1/4"). The Chris Rudd collection, Norfolk, UK; formed since the 1970s; collection number CE8; formerly in the 'Celtic Art Connoisseur of Cambridge collection'; found on the north bank of River Thames at Syon Park, near Isleworth, Middlesex, 1995-1998. Chris Rudd says: I can't recall seeing any other lyre-form mounts like this. However, it is interesting that the motif of two opposed crescent moons occurs frequently on the early gold coinage of the Catuvellauni, e.g. ABC 2442, 2445, 2508, 2511, 2514, 2550-74. A heart-shaped hidden face can also be seen on the first gold stater of Cunobelinus, ABC 2771, the most powerful of all Catuvellaunian rulers. This is obvious evidence that tribal emblems and dynastic heraldry can be seen not only on the Celtic coins of Britain, but also on other contemporary prestige metalwork; which is why I was keen to acquire this piece. Chris Rudd has collected ancient coins and antiquities since the 1940s. As an amateur archaeologist he found many himself at Badbury Rings, Dorset, 1952-53. He also dug at Hod Hill with Professor Sir Ian Richmond and at Wroxeter with Dame Kathleen Kenyon and Dr Graham Webster. Today he is best known as a Celtic coin dealer. His catalogues have been described as ‘an important research source’ by Professor Sir Barry Cunliffe and ‘treasure houses of delight’ by Dr Anne Ross. Coins and artefacts associated with Chris Rudd – as a collector, dealer and valuer – can be seen in The British Museum and other museums. This collection was formed since the 1970s. Fine condition.
Lot 277
20th century AD. A wooden figure of a bird with black painted head with brown and white for the eyes; notch to the top for insertion of separate beak, feather to the back of the head; long body painted with stripes and dots to the upper side in ochre, black and white, to the lower black and white stripes, to the end of the body a triangular section with dot pattern; large wings back against the body decorated to the outside with ochre, black and white stripes with dot pattern, to the inside ovals against a dark ochre background with ochre, black and white circles and dot patterns to the centre. See Jelinek, J. The Great Art of the Early Australians: The Study of the Evolution and Role of Rock Art in the Society of Australian Hunters and Gatherers, Brno, 1989. Isaacs, J. Tiwi, Melbourne, 2012. 1.47 kg, 41.5cm (16 1/4"). Property of a European collector; formerly from the collection of Prof. RNDr. Jan Jelínek, DrSc., anthropologist, and Director of the Moravian museum, and the president of the International Committee of Museums (ICOM) for eight years; thence by descent 2004; collected by Professor Jelínek during the Moravian Museum expedition collaboration with Department of Aboriginal studies in Canberra, to Arhnem Land in the Northern Territory of Australia, in 1969; from Tiwi Island, Australia. Accompanied by copies of expedition photographs, map and Dr Jelinek's biography. The Tiwi Islands are eighty kilometres north of Darwin, where the Arafura and Timor Seas meet. They are comprised of Melville and Bathurst Islands and are Australia’s second and fifth largest islands respectively. Contemporary Tiwi artists draw on the elaborate decoration of traditional ceremonies, including painting patterns on the body, carving and decorating ceremonial hollow log funeral poles, the creation of elaborate head-dresses and other body adornments, weaving and printmaking borne from the tradition of ceremonial Pukamani poles. Tiwi art differs from that of the people of nearby Arnhem Land in its vibrant colour and emphasis on pattern. [A video of this lot is available on the TimeLine Auctions website] Very fine condition. Rare.
Lot 1148
After Tony Smith (20th century contemporary) ''The Italian Job III Self-Preservation Society'' Colour reproduction, signed and numbered A/P67/85, with Washington Green Fine Art stamp, 44cm by 53cm Subject to Artists' Resale Rights/Droit de Suite Buyer's premium of 20% (+VAT) applies to this lot
Lot 38
Group of five art exhibition posters: 1. Original vintage advertising poster for 200 Years of American Painting Exhibition held in National Gallery of Modern Art Rome. Fair condition, small paper losses and tears on margins, few stains on bottom. Country: Italy. Year: 1976. Designer: Unknown. Size: 100 x 70. 2. Original vintage advertising poster for Mane-Katz Petit Palais Geneve. Good condition, small creases in the lower left corner. Country: Italy. Year: 1970s. Designer: Mane-Katz. Size: 68 x 48.5. 3. Original vintage advertising poster for The Disturbing Muse-Masters of Surrealism Civic Gallery of Modern and Contemporary Art Turin. Very good condition, pin holes in corners. Country: Italy. Year: 1968. Designer: Rene Magritte. Size: 88 x 64. 4. Original vintage advertising poster for American Hyperrealists and European Realists Rotonda Di Via Besana Milan. Good condition, creases on margins, paper defect on the right side. Country: Italy. Year: 1974. Designer: Tino Petrelli. Size: 68.5 x 99.5 5. Original vintage advertising poster for Willi Sitte Kunstverein Hamburg. Good condition, creases on margins. Country: Germany. Year: 1975. Designer: Willi Sitte. Size: 84 x 59.5.
Lot 56
Group of five art exhibition posters: 1. Original vintage advertising poster for Francis Picabia Civic Gallery of Modern and Contemporary Art Turin. Good condition, creases and small tears on margins. Country: Italy. Year: 1974. Designer: Francis Picabia. Size: 89.5 x 65. 2. Original vintage adverising poster for Paul Klee held in Florence in 1981. Paul Klee was a Swiss-German artist. His highly individual style was influenced by movements in art that included Expressionism, Cubism, and Surrealism. Very good condition, few creases on the image. Country: Italy. Year: 1981. Designer: Paul Klee. Size: 68 x 48.5. 3. Original vintage advertising poster for Ben Nicholson Exhibition held in Hirshhorn Museum Washington. Good condition, creases in coreners. Country: USA. Year: 1978. Designer: Ben Nicholson. Size: 91.5 x 58.5. 4. Original vintage adverising poster for Pietro Consagro's Graphic Works and Drawings Exhibitions held in Rome in 1977. Pietro Consagra was one of Italy's leading postwar sculptors. Good condition, few stains on the image, small tear on top, creases on margins. Country: Italy. Year: 1977. Designer: Pietro Consagro. Size: 70 x 50. 5. Original vintage advertising poster for Vespignani Between Two Wars Padiglione d'arte contemporanea Ferrara. Very good condition, small creases on margins. Country: Italy. Year: 1979. Designer: Vespignani. Size: 98 x 68.
Lot 59
Group of five art exhibition posters: 1. Original vintage advertising poster for Francis Picabia Exhibition held in Civic Gallery of Modern and Contemporary Art Turin. Good condition, creases on margins and on the image. Country: Italy. Year: 1974. Designer: Francis Picabia. Size: 89.5 x 65. 2. Original vintage advertising poster for Naum Gabo Tate Gallery. Good condition, creases all over the poster, few stains on the right margin. Country: UK. Year: Unknown. Designer: Unknown. Size: 75.5 x 50.5. 3. Original vintage advertising poster for William Turnbull Tate Gallery. Good condition, few creases and small scratches on the image, small stain in the lower right corner. Country: UK. Year: 1973. Designer: Unknown. Size: 76 x 50.5. 4. Original vintage advertising poster for Hyperrealism in Belgium Exhibition held in Royal Museum of Fine Arts Antwerp. M. Maeyer, A. De Clerck, R. Wittevrongel. Country: Belgium. Year: 1970s. Designer: Unknown. Size: 56.5 x 37. 5. Original vintage advertising poster for Medardo Rosso Exhibition held in Palazzo della Permamente. Very good condition, small creases on margins. Country: Italy. Year: 1979. Designer: Unknown. Size: 99.5 x 69.5.
Lot 6
Group of five art exhibition posters: 1. Original vintage advertising poster for Salvador Dali's Museum. Salvador Domingo Felipe Jacinto Dalí i Domènech, Marquis of Dalí de Púbol, known professionally as Salvador Dalí, was a prominent Spanish surrealist artist born in Figueres, Catalonia, Spain. Very good condition. Country: Spain. Year: 1975. Designer: Salvador Dali. Size: 47.5 x 34.5. 2. Original vintage adverising poster for Contemporary Norwegian Crafts Exhibition held in the The Cinquantenaire Museum, Brussels in 1974. Good condition, creases in the upper left corner, few creases on the image. Country: Belgium. Year: 1974. Designer: Unknown. Size: 58 x 34. 3. Original vintage advertising poster for Dali Exhibition held in the 22e Salon de Montrogue in 1977. Salvador Domingo Felipe Jacinto Dalí i Domènech, Marquis of Dalí de Púbol, known professionally as Salvador Dalí, was a prominent Spanish surrealist artist born in Figueres, Catalonia, Spain. Very good condition, small creases on margins. Country: France. Year: 1977. Designer: Salvador Dali. Size: 47 x 36. 4. Original vintage advertising poster for Guacci Exhibition held in Fifth International Art Fair Basel. Good condition, few creases and small stain on top, signed by Guacci. Country: Switzerland. Year: 1974. Designer: Unknown. Size: 70 x 50. 5. Original vintage adverising poster for Gruppo Zebra Exhibition - Dieter Asmus, Christa e Karlheinz Biederbick, Harro Jacob, Peter Nagel, Dietmar Ullrich. Held in National Gallery of Modern Art Rome. Good condition, few creases on margins. Country: Italy. Year: 1979. Designer: Unknown. Size: 98.5 x 69.5.
Lot 83
Group of five art exhibition posters: 1. Original vintage advertising poster for 20th Century American Drawing: Tree Avant-Garde Generations Guggenheim Museum New York. Good condition, small water stain on bottom. Country: USA. Year: 1976. Designer: Stuart Davis. Size: 84 x 56. 2. Original vintage advertising poster for Theophile-Alexandre Steinlen Civic Gallery of Modern and Contemporary Art Turin. Fair condition, paper losses in corners, tape in the upper left corner, folded, tears on margins. Country: Italy. Year: 1980. Designer: Theophile-Alexandre Steinlen. Size: 98 x 69. 3. Original vintage advertising poster for Pistoletto Reflexionen Nationalgalerie Berlin. Michelangelo Pistoletto. Fair condition, creases and image losses all over the poster. Country: Germany. Year: 1978. Designer: Christian Ahlers. Size: 84 x 59.5. 4. Original vintage advertising poster for Costumes Exhibition held in the Centraal Museum in Utrecht, Netherlands. Very good condition. Country: Netherlands. Year: Undin theed. Designer: Unknown. Size: 46 x 69. 5. Original vintage advertising poster for George Segal Sculptures Walker Art Center Minnesota. Very good condition, small scratches and unnoticeable tear on bottom. Country: USA. Year: 1979. Designer: Unknown. Size: 88 x 59.
Lot 9
Group of five art exhibition posters: 1. Original vintage advertising poster for Paris New York Exhibition held in National Museum of Modern Art Paris. Good condition, few scratches and unnoticeable tear on bottom. Country: France. Year: 1977. Designer: Martial Raysse. Size: 70 x 46.5. 2. Original vintage adverising poster for Jean Dubuffet Exhibition held in the Musee des Arts Decoratifs, Paris in 1976. Jean Philippe Arthur Dubuffet was a French painter and sculptor. His idealistic approach to aesthetics embraced so called ""low art"" and eschewed traditional standards of beauty in favor of what he believed to be a more authentic and humanistic approach to image-making. Very good condition. Country: France. Year: 1976. Designer: Jean Dubuffet. Size: 69.5 x 45. 3. Original vintage adverising poster for Lucio Fontana Exhibition held in the National Milan Contemporary Museum in 1978. Lucio Fontana was an Italian painter, sculptor and theorist of Argentine birth. He was mostly known as the founder of Spatialism and his ties to Arte Povera. Very good condition. Country: Italy. Year: 1978. Designer: Unknown. Size: 69.4 x 48.5. 4. Original vintage adverising poster for Yacoov Agam Exhibition held in the Musée National d'Art Moderne, Paris in 1972. Yaacov Agam is an Israeli sculptor and experimental artist best known for his contributions to optical and kinetic art. Very good condition, small creases on margins. Country: France. Year: 1972. Designer: Yacoov Agam. Size: 66 x 43. 5. Original vintage advertising poster for La Biennale Un Laborartorio Internazionale. Good condition, small tears on margins, paper loss in the lower right corner. Country: Italy. Year: 1975. Designer: A. Zen. Size: 98 x 68.
Lot 90
Group of four art exhibition posters: 1. Original vintage advertising poster for Ten Years Museum Of Contemporary Art Chicago. Good condition, small scratches on margins. Country: USA. Year: 1977. Designer: Unknown. Size: 66 x 66. 2. Original vintage adverising poster for Retrospective Paul Delvaux held in the Musée des Arts Décoratifs, Paris. Paul Delvaux was a Belgian painter famous for his paintings of female nudes. He was influenced by the works of Giorgio de Chirico, and was also briefly associated with surrealism. Good condition, small tears and creases on margins. Country: Belgium. Year: Undated. Designer: Paul Delvaux. Size: 65 x 50. 3. Original vintage advertising poster for Bild-Dichtungen Kunstverein Hamburg. Excellent condition. Country: Germant. Year: Unknown. Designer: Unknown. Size: 83 x 59.5. 4. Original vintage advertising poster forAnkaufe Staatliche Graphische Sammlung Munich. Good condition, creases and small tears on margins, paper loss in the lower right corner. Country: Germany. Year: 1978. Designer: Peng Wan-Ts. Size: 84 x 59.
Lot 92
Group of five art exhibition posters: 1. Original vintage advertising poster for Andy Warhol Louisiana. Very good condition, small paper defect in the lower left corner, marker signature in the left side of poster. Country: USA. Year: 1978. Designer: Andy Warhol. Size: 100 x 62. 2. Original vintage advertising poster for Karl Heinrich Greune Kunsthalle Bremen. Good condition, creases on margins. Country: Germany. Year: 1979. Designer: Karl Heinrich Greune. Size: 84 x 59.5. 3. Original vintage advertising poster for Anne and Patrick Poirier Exhibition held in the Palazzo Dei Diamanti in Ferrara in 1979. Anne and Patrick Poirier (born 31 March 1942 in Marseille and 5 May 1942 in Nantes) are a French art duo. Very good condition, small crease in the upper left corner. Country: Italy. Year: 1979. Designer: Unknown. Size: 70 x 48.5 4. Original vintage adverising poster for Contemporary Spanish Art Real Academia de Bellas Artes Rome. Good conditinon, creases, small tears and small paper losses on margins. Country: Italy. Year: 1974. Designer: Unknown. Size: 70 x 100. 5. Original vintage advertising poster for Jasper Johns Pompidou Centre. Good condition, creasese on margins. Country: France. Year: 1978. Designer: Jasper Johns. Size: 74 x 43.5.
Lot 199
George Bauer Dunbar (American/New Orleans, b. 1927), "Untitled", 1960, clay, silver leaf and mixed media on board, signed and dated en verso, 11 in. x 11 in., original frame. Note: After World War II, while studying in art in Philadelphia during the week, George Bauer Dunbar would spend his weekends in New York surrounded and influenced by the likes of Jackson Pollock, Franz Kline, and Willem de Kooning. “He wanted his art to possess a sense of tactility and manifest a reverence for organic materials that he did not see in the art of the New York School. Dunbar discovered that through natural materials like metal and clay, he could take Pollock’s drips and dribbles of paint and Kline’s stark calligraphic abstractions, and give them their own sentience.” Dunbar took what he learned in Philadelphia and New York and brought it back to New Orleans, where he joined forces with other like-minded local artists such as Lin Emery and Robert Helmer to form the Orleans Gallery, which is credited with introducing abstract and contemporary art to the region. Dunbar, in particular, excelled in melding local aesthetics with what was at the time a national art movement. “His gilded abstractions brought unfamiliar art terms into the fold of New Orleans art, and did so in a way that blended seamlessly with New Orleans’ stately historical homes and heavily patinated local portraiture.” It is his focus on texture and the idea of chance throughout his artistic career that has driven an interesting evolutionary arc in his works: starting out with the gilded layered clay pieces from the 1950s and 60s, then moving on to his highly improvised rag series and clay torso reliefs, all the while punctuated by his perfectly smooth and technical geometric clay surfaces. In the lots offered here, we are treated to a veritable mini-retrospective highlighting several milestone eras in Dunbar’s long and prolific oeuvre. Ref.: George Dunbar: Elements of Chance, New Orleans Museum of Art, Nov. 3, 2016 – Feb. 19, 2017, pp. 8-26.
Lot 45
WANG KEPING (born Beijing 1949) A carved wood figure of abstract form, incised with two characters on the reverse, 44cm high Wang Keping came to prominence in the 1970's with artists such as Huang Rui, Ma Desheng and Ai Weiwei - founding members of the early Beijing Contemporary Art Group "The Stars" (Xing Xing). Their aim was to ensure freedom of artistic expression in China.Provenance: The Roger Moss Collection.For important information relating to this auction please visit the following linkPLEASE NOTE THIS LOT IS NOT AVAILABLE FOR LIVE BIDDING* 在线投标不可用于此项目 Condition Report Generally in good condition but the wood with some slight drying cracks and signs of old insect damage – probably original to the selection of the wood by the artist?
Lot 101
A Pair Of Dresden Carved Ivory Figures Representing Spring and Autumn from the Collection of H.R.H. The Princess Margaret, The Earl and Countess of Rosebery's Wedding Present:18th century, each on integrally carved rectangular plinth and a contemporary square-based amber veneered moulded pedestal; a repair to Spring's left hand and minor loss to Autumn's left hand; each figure embellished with later multi-coloured glass pastes, some of which are now lacking; minor losses to the bases; general minor repairs. 4 in. (10.2 cm.) high; 6¾ in. (17.1 cm.) high, overall (2). Note: The two ivory figures were recorded in the Amber Room at Mentmore, Buckinghamshire in 1934 and listed in Mentmore, Volume II, page 84, number 30 and 32, attributed to Dinglinger. Number 31 was sold at Mentmore, Sotheby's house sale, 18th - 23rd May 1977, lot 1892. The statuettes of flower-wreathed Flora and a vine-wreathed bacchante personifying the Seasons of Spring and Autumn, which are richly jewelled in Eastern fashion, formed part of the famed objets d'art collection displayed in the 'Amber' room created by Baron Mayer Amschel de Rothschild (d.1870) at Mentmore, Buckinghamshire. Together with the companion Summer figure of Ceres, they were prized as the work of Augustus the Strong's Dresden-based goldsmith Johann Melchior Dinglinger (d.1731) (Mentmore Catalogue, 1934, Vol. II, p.84, nos. 30-32). Related Seasons by the Dieppe sculptor Jean-Antoine Belleteste (d.1811) are illustrated F. St. Aubyn (ed), vory, London, 1987 (p.117). Provenance: Silver, Furniture and Works of Art from the Collection of H.R.H. The Princess Margaret, Countess of Snowdon, Christie's, London, 14th June 2006, Lot 820, where acquired by the present vendor. Lot includes original leather cased Kensington Palace Certificate of Provenance bearing wax seal.
Lot 92
A Stunning and Stylish Unmarked Arts & Crafts-Style Silver-Gilt Brooch:second half of 20th century, set with a large heart-shaped stone rock crystal surrounded by amethysts, green and pink sapphires and other stones, all in rubbed-over mounts, the reverse of brooch with intricate curlicues.Foot note:Dorrie Nossiter (29 June 1893-1977) studied at the Municipal School of Art, Birmingham, 1910-1914. By 1935 she was exhibiting in London, and some of her work was shown in the "Art by Four Women" exhibition at the Walker Gallery. Nossiter was a contemporary of another leading female jeweller of the day, Sybil Dunlop. Their designs are very similar and often confused. CONDITION REPORT: H7cm x W4.5cm
Lot 71
A BRONZE SCULPTURE OF GUAN YU BY JU MING (1938-) 1985 The deified warrior stands in a fierce pose with his halberd at his back, signed, numbered 4/6, 24.5cm, 171g. Provenance: from the collection of the late Michael Sherrard QC., purchased from Hanart 2 Contemporary Art , Hong Kong on 16th November 1991, a copy of the original invoice is available. Cf. a further Ju Ming bronze figure from the collection of the late Michael Sherrard QC. which was sold at Christie's in Hong Kong, 28th May 2017, Lot 401. 朱銘關羽立象 銘文：朱銘4/6 來源：律師Michael Sherrard高級律師收藏，1991年11月16日購於香港Han Art 當代藝術畫廊（附發票複印件）
Lot 72
A BRONZE SCULPTURE 'TAICHI' BY JU MING (1938-) 1991 Standing on one leg with outstretched arms, signed, numbered 2/20, 38cm, 12kg. Provenance: from the collection of the late Michael Sherrard QC., purchased from Hanart 2 Contemporary Art, Hong Kong on 16th November 1991, a copy of the original invoice is available. Cf. a further Ju Ming bronze figure from the collection of the late Michael Sherrard QC. which was sold at Christie's in Hong Kong, 28th May 2017, Lot 401. Ju Ming was born in 1938 in Tongxiao, Taiwan, and is most famous for his geometric steel and bronze works. Ju trained as a painter and woodcarver and opened his own studio in 1959 and gained fame in New York in 1970s. He lives and works between New York and Taiwan, his works are displayed in the collections of the National Museum of Singapore, the Tel Aviv Museum of Art and the Ju Ming Museum in New Taipei and others. 朱銘 太極系列之二 銘文：朱銘 Feb-20 來源：律師Michael Sherrard先生收藏，1991年11月16日購於香港Han Art 當代藝術畫廊（附發票複印件）
Lot 352
Robert Sadler (1909-2001) was born in Newmarket, Suffolk, the son of a racehorse trainer. By the age of fourteen he was drawing and painting aeroplanes, horses, houses and landscapes. He joined the Royal Air Force and, in 1942, whilst posted to the Air Ministry as 'Director of Plans', he attended art school in London. In 1953 he moved to the USA to take up the post as representative on the NATO Joint Chiefs of Staff Intelligence Committee, during which period he attended the Corcoran School of Art in Washington DC, where he first encountered the work of the American Abstract Expressionists. Returning to the UK in 1955, having retired from the RAF, he moved back to Newmarket, in his words: 'to devote the rest of my life to painting'. He exhibited widely during his working life. His first one-man show was at Swaffham Prior, Cambridge, and from then until 1963 he lived and painted in a largely abstract expressionist style, influenced by the École de Paris Tachisme of Poliakoff and de Stael, and by the contemporary British work of Peter Lanyon, William Scott, Bryan Wynter and Adrian Heath. In 1964 Sadler moved to Aldeburgh, Suffolk and built a new studio at 39 The Terrace, where he lived until his death in August 2001. Sworders are pleased to offer the following twelve paintings from the estate of the artist.*Robert Sadler (1909-2001)'GIRL AT TABLE'Signed l.l., inscribed verso, acrylic on board40 x 31cmProvenance: With Reades Gallery, 1976.*Artist's Resale Right may apply to this lot.
Lot 2f
Artist: Kikuo Saito (1939-2016) Title: Blue Ticket Medium: Acrylic on canvas Size: 50" x 80" canvas size. Date: 1980 Provenance: Salander O'Reilly Gallery - New York Vestu Corporation - Boston AT&T Corporate Art Collection Kikuo Saito is included in major museum collections, including: Museum of Modern Art, the Whitney Museum of American Art, the Aldrich Contemporary Art Museum, and numerous private and corporate collections. Fantastic quality abstract painting. HUGE size and HEAVY BRONZE METAL MODERN FRAME.
Lot 516
Contemporary Ceramic Art Piece By Ronit Baranga Israeli artist Ronit Baranga creates subversive ceramic pieces fusing traditional domestic serve ware with representations of the human body. Presented here is 'Box' a 2016 piece in the form of a deep, lidded ceramic box with open mouth and tongue, formed in relief to lid. Complete with handwritten note from the artist. Signed 'Baranga 2016' to underside. Excellent condition. Height, 4 inches.
Lot 6
Costas COULENTIANOS Greek, 1918-1995 New Generation III signed and numbered 17/26 bronze 63 x 31 x 23 cm PROVENANCE private collection, Athens Costas Coulentianos was born in Athens in 1915. He studied at The School of Fine Art, Athens between 1936 and 1939, and later in Paris at the Académie de la Grande Chaumière with a grant from The French government under Ossip Zadkine. In Paris he met Henri Laurens who had an influence on him. His first solo exhibition was held in Paris in 1962. He presented his work in 1953 at the Salon de la Jeune Sculpture, Paris, in 1953 at Biennale Antwerp, in 1955 at The Sao Paolo Biennale and in 1964 at The Venice Biennale. Coulentianos organized workshops on sculpture at the Ecole des Arts Decoratifs of Paris (1975-6) and the Ecole des Beaux-Arts Marseilles (1979-80). In 1984, he was bestowed the Chevalier des Arts et des Lettres by the French Government. He had more than 30 solo exhibitions worldwide and took part in numerous group exhibitions. His works decorate public spaces in several European cities such as Lyon, Brussels and Athens. His work can be found at The National Gallery, Athens, The Benaki Museum, The Municipal Gallery of Athens, The Macedonian Museum of Contemporary Art, and in many private collections in Athens and internationally.
Lot 10
Nikos KESSANLIS Greek, 1930 -2004 The sculptor Chavignier signed and dated 1965 lower right processed photographic imaging on canvas 110 x 55,5 cm PROVENANCE Emfietzoglou Collection, Athens private collection, Athens EXHIBITED Nikos Kessanlis, Retrospective Exhibition, Macedonian Museum of Contemporary Art, 1997 Nikos Kessanlis, Venice Biennale, 1988 LITERATURE Συλογή Εμφιετζόγλου, Νεότερη και Σύγχρονη Τέχνη, Αθήνα, 2005, page 399, illustrated Nikos Kessanlis, Macedonian Museum of Contemporary Art, C.C.E. Thessaloniki, 1997, page 258, illustrated Nikos Kessanlis, Venice Biennale, Athens, 1988, illustrated Kessanlis was born in Thessaloniki and studied at The Academy of Fine Arts, Athens between 1950 and 1955 in the studio of Yannis Moralis. He was also a student of Spyropoulos and Nicolaou. Later on a scholarship from The Italian Institute, Athens, he attended The School of Art Conservation, Rome (1955-9), whilst also taking lessons in mural painting and engraving at the Scuola delle Arti Ornamentali di San Giacomo. In the early 60s he moved to Paris and in 1980 returned to Greece as a professor in The Academy of Fine Art, Athens and later between 1991-1995 as a rector (in the sphere of academia this is the highest academic position). Kessanlis held more than 30 solo exhibitions, in Greece and abroad. He has shown his work in numerous international group events, including Nouvelles aventures de l'objet (Paris, 1961) and Three Proposals for a New Greek Sculpture (Venice, 1964). In 1988 he represented Greece at The Venice Biennale. In The 1965 Biennale of Paris, Kessanlis used an intermediate screen on which the shadows of the visitors were projected. This work established him internationally as one of the greatest artists of European modernism. In 1959 he received The Modigliani Award, in 1961 an honourable commendation at The Sao Paulo Biennale and in 1997 first prize at the Salon de Montrouge. His work can be found in many public and private collections in Greece, France and internationally. Notably at The National Gallery, Athens, The Macedonian Museum of Contemporary Art, The Vorres Museum, Musee d’Art Moderne, Paris, Museo d’Arte Contemporanea, Torino, Museo d,Arte Moderna, Rome, Musee d’Art Moderne, Sao Paolo and The Museum of Modern Art, Miami.
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