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Lot 742
A SELECTION OF SEVEN FRANKLIN MINT PRECISION MODEL VINTAGE CARS to include; 1935 Mercedes Benz special Roadster, 1907 Rolls Royce Silver Ghost, 1904 Mercedes Simplex, 1924 Hispano-Suiza, 1930's Duesenberg Tourster, 1911 Rolls Royce and Japanese batte ry operated Rolls Royce two-door drophead (8)
Lot 256
A circa 1900 mahogany coin collector's cabinet with brass carrying handle over an arched glazed door opening to reveal twenty slim drawers with no'd, turned boned handles raised on a plinth base, 26 cm x 30 cm CONDITION REPORTS Various scratches, scuffs amd impressed marks throughout the exterior. Some dark coloured marks, split to the moulding on the base to the right hand side - see images. There is no key. The no 3 on the right hand side on the handle has been repainted and the whole handle has been replaced with a very similar handle. All over general small signs of wear and tear throughout - see images for further details
Lot 285
An early 19th Century Scottish mahogany cased long case clock with swan neck pediment and central arrowhead finial, the flamed mahogany door, flanked by reeded wrythen pilasters, the 8-day movement with painted arch dial decorated with a church over a chapter ring with Roman and Arabic numerals enclosing a subsidiary seconds dial and date dial and inscribed "Jas Christie Perth" 214 cm high
Lot 571
A 19th Century Continental side cabinet, the marquetry inlaid top with central floral spray above a single marquetry inlaid drawer over a door with central cartouche with floral spray decoration, flanked by marquetry inlaid pilasters, raised on square tapering supports, 55.5 cm wide x 86 cm high CONDITION REPORTS Top is very warped. All sorts of losses to the inlay. Various cracks and splits to the veneer. Various deep scratches, scuffs, marks etc. Handle to the drawer is missing. Drawer is very stiff. Door is very bowed and warped. Again, damage to the veneers throughout. Cracking, some losses, some chips to the edges and corners. Various scratches and marks. All over showing various general signs of wear and tear with various splits, losses, chips, scratches etc throughout. The cabinet rocks when on an even floor
Lot 1342
A 19th century Indian carved hardwood table cabinet, the whole profusely carved with figures and animals, 48.5cm high. Condition Report: Small areas of damage to exterior - corners, side frieze, top finial, drawer front. Left door repaired, one knob missing. Interior drawer does NOT fit. Two knobs missing.
Lot 21
A late 17th / 18th century dutch / Flemish church vestry cabinet on stand. The solid oak carved two part cupboard and stand comprising later 19th century additions being raised on large cup and cover supports with block feet. Above a single drawers to the stand being profusely carved in swag and scroll work Above twin reeded columns with masks of merchant man and women having flared cornice atop and further carved panelling. The central door with carved emblem of game bird housing open storage with small shelf within. Measures 161cm high x 74cm wide x 41cm deep.
Lot 321
A 19th century Napoleon III ebonised boulle and ormolu mounted pier cabinet, circa 1860. A Napoleon III ebonised, boulle and ormolu mounted pier cabinet , circa 1860, Flared rectangular top above a single glazed door enclosing line shelves and plinth base The sides with applied ormulu masks and borders,
Lot 570
PUNK/NEW WAVE 7" - Screaming collection of 9 x blistering 45s! Titles are Mecano Ltd. - Face Cover Face (released on the short lived but quite brill Dutch label No Fun - No. 2/ VR 10431- clean Ex, complete with insert/Ex light ringwear), The Door And The Window - Production Line EP (NB 3 - Ex/VG+ DIY two part sleeve), The Freshies - The Men From Banana Island ... (RAZZ 3 number 243 - Ex/VG+ no insert), Killing Joke - Wardance / Pssyche (MD5.40), The Church - The Unguarded Moment (CAR 212), Gang Of Four - Damaged Goods (demo FAST 5 1980 issue - Ex/Ex), The Flys - Living In The Sticks, The Dynamites - Let's Do It Tonight and Radio Stars - From A Rabbit (NS 36). Condition is generally well presented Ex to Ex+.
Lot 375
A large modern Georgian style dolls town house on base board and with road frontage, steps to the front door, the front opening to reveal an arrangement of 6 rooms over three floors with stairs, hall and landings in the centre and with an arrangement of rooms in the basement approx 112cms high 98cms wide 71cms deep with a large quantity of modern furnishings and furnitures and together with a Victorian style greenhouse fitted with plants, potting up shelves, a gardener and tools, 36cms high and a Toy Shop fully fitted with shelves, toys and figures, 27cms high
Lot 972
A LARGE 19TH CENTURY MAHOGANY CHIPPENDALE DESIGN GLAZED BOOKCASE, the twin door Astragel glazed upper section with a range of fitted shelves above a twin panelled door lower section, each door with star shaped moulded detail and central ebony inlay, raised on shaped feet, A/F, H 235 cm, W 180 cm, D 35 cm¦Condition Report:Cracks to the right hand lower section door. Crack to central foot. Unfinished sides and loose back panels.¦
Lot 575
A collection of household linens; comprising tablecloths, napkins, embroidered table mats, runners, tray cloths, an embroidered crochet lace edged Summer bedcover, square pillow cases, a floral printed linen door curtain, a yellow pyjama case, a crib valance, a Dutch bonnet and a quantity of Irish and machine lace collars (a lot)
Lot 89
Gerard Dillon (1916-1971)The Past and the PresentOil on board, 50.5 x 61cm (19¾ x 24'')SignedProvenance: Previously in the Merrion Hotel Collection.Literature: 'The Art Collection at the Merrion Hotel', (1st edition), full page illustration p.14.Cycling around the Aran Islands during the War, Dillon was fascinated by the wealth of archaeological and cultural material on the Islands. His interest in Ireland’s ancient past coincided with meeting Drogheda artist Nano Reid (1900-1981), who had a lifelong interest in the Prehistoric remains in Ireland’s Ancient East. Together they visited the passage tombs and monastic ruins in the Boyne Valley throughout the 1940s, 50s and 60s to seek out inspiration for subject matter. In the late 1940s, Dillon was focused on two themes, the living and the dead and the past and the present. This work, ‘The Past in The Present’ belongs to the latter and was probably executed after staying with Nano Reid in Drogheda in 1949. In the same year, Dillon held two exhibitions, a solo exhibition of watercolours in May at the Drogheda Municipal Art Gallery and a joint exhibition with Allen (Tate) Adams at the CEMA Gallery in Belfast. The influence of Celtic Crosses in the Boyne Valley is evident in both exhibitions. Reviewing the exhibition in Drogheda, one critic noted Dillon’s interest in High Crosses, ‘There are panels from the High Crosses at Monasterboice, painted with a restricted palette and convey the simple dignity of these designs.’ (Drogheda Independent 7/5/49)The past confronts the viewer by way of a doorway of carved stone panels and through an open door, the present is represented by two women in a landscape dressed in shawls and petticoats. In the 1940s, women in the West of Ireland traditionally wore red petticoats and woven black woollen shawls to protect their upper bodies. The large panel on the right depicts two monks in ceremonial robes with shaved heads and curled moustaches. The monks with curled moustaches resemble the artist and are repeated in another work ‘The Community’ exhibited a year later at Dillon’s solo exhibition at Victor Waddington Galleries. The door surround consists of smaller panels of animals and figures which were inspired from the medieval carvings located in the Boyne Valley. After his visit to Drogheda, Dillon returned to London to prepare for his exhibition in December with Tate Adams. From his basement flat in Abbey Road, he wrote a letter to John Hewitt in December, 1949 who was writing an introduction essay for the catalogue. ‘When I was in Monasterboice I was carried away by the old carving on the Celtic Crosses. I loved the wee men’s Walrus moustaches. They all looked like bowlegged Douglas Hyde’s. I’m now working on the panel idea. It’s great fun dividing up the canvas into sections and trying to make each section a complete thing yet holding it all together.’Dillon continued to develop the panel idea in the 1950s where self-portraits and ‘walrus’ moustaches appear in other mediums. Strings of beads act as a moustache attached to a Papier- Mâché head and bald heads and curling moustaches and are visible among Celtic knots and interlacing patterns bordering watercolours usually seen in ornamented Celtic manuscripts.Karen ReihillOctober, 2015
Lot 129
Brendan Jamison (b.1979)Doorway - No. 10 Downing StreetSugar cube sculpture, size of perspex box 51cm high x 25.5cm deep x 30cm wide (20 x 10 x 12'')Provenance: The Eamonn Mallie CollectionOf Brendan Jamison and his Downing Street sculpture: The BBC wrote the following: 'Northern Ireland artist Brendan Jamison has claimed a special niche in the UK corridors of power.'The craftsman is a cubist of a different kind - he is known for carving thousands of sugar lumps into intricate buildings.He has been chosen for an exhibition inside 10 Downing Street. Visiting presidents and prime ministers from across the world will be able to see the iconic black door they have just stepped through, carved in sugar. Jamison, used 5,117 sugar cubes and took two months to complete his Downing Street door.’ Commenting on his sugar creations, Jamison revealed in 2003 he pioneered a technique of carving sugar cubes into intricate shapes. These are glued together with a special adhesive. His two-fold method of carving blocks of sugar and creating a permanent building has caught the imagination across the world resulting in his being a guest of governments around the world capturing sugar images of many of their most celebrated buildings. It was 'Ten Downing Street' however which catapulted Jamison onto the world stage with TV channels and international newspapers becoming very excited about this revolutionary method of making sculptures. When I saw 'Ten Downing Street' in Jamison's studio I asked him to give me 'first option' on the work given that I had been through the famous door Number 10 and stood outside it several times in my professional capacity. Jamison was agreeable to prioritise me but history militated against me. Word reached Downing Street about the sugar sculptured door and the young artist was invited to include it in a mixed exhibition. Jamison faced a dilemma. Downing Street sought to purchase the work. The artist consulted me, acting honourably in light of his commitment to me to get first call on 'Number Ten'. I readily gave way and the sculpture had a new permanent home in the hallway in 10 Downing Street. Some time later Jamison called me to inform me he had completed a second version of 10 Downing Street going into the Royal Ulster Academy Exhibition. Once the doors opened I rushed into the Museum and managed to get a red sticker on the sculpture.It is in good company across the globe with sugar sculptures in existence now of The Great Wall of China, Tate Modern in London, Helen's Tower Clandeboye, commissions by Vogue in Milan and by The Centre Pompidou, in Paris.Eamonn Mallie
Lot 210
Paddy McCann (b.1963)Green DoorOil on canvas, 59 x 48.5 (23¼ x 19¼”)Provenance: The Eamonn Mallie CollectionAlmost twenty years ago I asked Belfast College of Art lecturer and painter Neil Shawcross if he could recommend a young painter to me whom he deemed to be a talent. He instantly mentioned the name Paddy McCann, a fellow lecturer in Belfast College of Art. Neil in his usual low key manner added yes - he's a painter. Some time later I walked into the Fenderesky Gallery, located then in South Belfast, to witness an exhibition by McCann. I bought four works and phoned my collector colleague Dr. Robin Hyndman who arrived and bought two pieces and who still laments the fact that a painting which included a rainbow in its composition had already been sold.McCann, a South Armagh man is a deeply sensitive and intellectual artist with a profound awareness of the nuances of the world in which he lived and works. 'The Troubles' have subliminally permeated much of his output with 'watching' a big theme.'Watching' was a way of life in South Armagh when Paddy was growing up - watching for the dole man snooping, and of course with the arrival of the British army in the border area the 'watching' was a two way process .... soldiers watching the locals - the locals watching the soldiers. Even today 'watching' is in the border psyche - locals keeping an eye out for the police or Customs officials - summed up in a familiar country song which goes like this …. use the code of the border road - flash the lights at me. McCann's watchers are usually well embedded in his landscapes and quite often only emerge when one starts to live with his paintings.The death at the hands of British soldiers of twelve year old Majella O’Hare, close to Ballymoyer Church in August 1976, had a huge impact on McCann who has returned again and again to this subject.McCann is not, however, an insular painter. He is familiar with art currents across the globe. He is a big follower of the Canadian born artist Phillip Guston who settled into an abstract form of art making in New York. 'House with Green Door' in this vein has been won out of everything that seems wrong and yet, is right - executed with insouciance. The hint at a half door in a windowless house pulls us back to the simple rural life of yesterday. The half door kept the children in and the hens out in those days. A developed eye cannot be but impressed with the use by McCann of four colours, black, white, green and pink. These colours are not normally bedfellows and yet they feel at home in this little house. Les modes passent - le style est éternel! Eamonn Mallie
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 63
Estella Frances Solomons HRHA (1882-1968)On Parole, 1920Oil on canvas, 52 x 44cmSigned with initials and inscribed with title Exhibited: 'Estella Solomons Retrospective' Exhibition, The Crawford Gallery, Cork May/June 1986, Cat. No. 87 - illustrated in the catalogue; 'Estella Solomons Exhibition', The Frederick Gallery, November 1999, Cat. No. 48, where purchased by PJ and Breda Mara - illustrated in the catalogue. Breda Mara was a regular and welcome visitor to The Frederick Gallery on route to her special dress maker Richard Lewis whose salon was next door. This is a rare survivor of many portraits that Estella Solomons painted of the insurgents on the run who used her studio on Great Brunswick Street as a 'Safe House'. Most of the others had to be destroyed as they would identify and betray the whereabouts of the sitters. Estella was a member of Cumann na mBan where she was well versed in signalling and prepared for administering first aid during the rising and hiding arms in her parents’ garden. She was at the centre of a Dublin swaying on a political precipice. Her husband, Seamus O'Sullivan later writing in 'The Rose and bottle and other essays' described her studio as a place of refuge for many whose political and national activities had brought them a very undesirable amount of notice in 'the bad times'. Our thanks to Hilary Pyle whose writings on the artist formed the basis for this catalogue entry.
Lot 109
JOHN EMMS (ENGLISH 1843 - 1912),A COLLIE AT THE DOOR OF HIS KENNELoil on canvas, signed63cm x 53cmFramedNote: This image appears to be (compositionally) based on the larger dog in Landseer's "Dignity and Impudence", but is, in no way a "copy". It is known that Emms was an admirer of Landseer.
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