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![Daniel O'Neill (1920-1974) GIRLS AND DOGS oil on board signed lower left; titled on reverse; also numbered [No. 24] on exhibi](https://cdn.globalauctionplatform.com/1f451868-b9b9-4b78-a83f-a82000d48aee/ca4c834d-26a4-45c3-cafe-19e467afd97f/468x382.jpg)
Lot 50
Daniel O'Neill (1920-1974) GIRLS AND DOGS oil on board signed lower left; titled on reverse; also numbered [No. 24] on exhibition label on reverse Waddington Gallery, Dublin, where purchased by the parents of the present owner In this vibrantly coloured scene, three girls hold, and interact, with a collection of dogs; from those nestled on their laps or in the crook of their arms, to a larger companion who happily receives a pat on his head. The composition is unified by O'Neill's use of bright, sky and turquoise blues, moving from left to right across the canvas, and repeated on the sleeve, dress, and face of the respective figures. The layered and often thickly applied paint is characteristic of O'Neill's technique. This is particularly noticeable in this canvas through the rendering of the girls' hair, where patches of ochre and gold catch the eye; O'Neill also uses the palette knife to suggest the different materials of the girls' clothes. Writing about the artist in 1946, Cecil Ffrench Salkeld noted that texture was 'one of O'Neill's strongest weapons, and it is a weapon that he uses with great subtlety', and that is certainly evident in this painting. 1 Although ostensibly engaged in movement, there is a sense of stillness to the three figures; their downcast eyes suggest that each is in rapt concentration. The ambiguity of the dogs (are they stuffed toys, or real animals?), and the marionette-like features of the centre and right hand figures lend a somewhat surreal atmosphere to the painting. As O'Neill's art developed from the 1950s onwards, this uncanny air was embraced, finding full expression in his depictions of figures in landscape settings. The subject and colouring of Girls and Dogs is similar to other works exhibited by O'Neill in the mid-1950s, such as Girl Fiesta (AIB Collection). A comparable work by the artist, Three Children (deVeres, 2013), is less finely rendered, but repeats the motif of three children with animals. The hand-carved Waddington frame is a testament to the relationship between O'Neill and the well-known Dublin gallerist and art dealer, Victor Waddington. In 1945, O'Neill was taken on by Waddington, and several solo exhibitions of his work were held there through the 1940s and 1950s. With the income from the Waddington Gallery, O'Neill was able to focus on his painting without distraction; having previously worked as an electrician and housepainter in Belfast and London. In addition to solo exhibitions in Dublin, O'Neill's art was shown in London, Belfast, Montreal and other North American cities.Dr Kathryn Milligan October 2017 1. Cecil Ffrench Salkeld, 'Daniel O'Neill, A Critical Appreciation', Envoy 1:1, December 1949 18 by 24in. (45.7 by 61cm)
Lot 32
GREGOIRE HENRI: (1750-1831) Also known as Abbé Grégoire (“Abbot Gregoire”). French Catholic Priest, Abolitionist and revolutionary Leader, appointed President of the Convention. Rare D.S., Gregoire, one page, folio, 27th November 1792, to Lecointre-Puyraveaux, in French. The partially printed document being a passport, bearing the Convention heading, and countersigned by members of the Convention Barrère and Mailhe. With a paper seal affixed. VG £300-400Gregoire is well remembered for his memorable speech in the first session of the National Convention, 21st September 1792, stating `Kings are in morality what monsters are in the world of nature´. Two months after Gregoire delivered a speech demanding that King Louis XVI be brought to trial and immediately after was elected President of the Convention, over which he presided in his episcopal dress. Abbé Gregoire attempted to save the life of the monarch by proposing that the death penalty should be suspended.
Lot 434
MADAME SANS-GÊNE: (1753-1835) Catherine Lefebvre, born Catherine Hübscher, Duchess of Dantzig. Wife of French Marshal François Joseph Lefebvre. Best known by her nickname of “Madame Sans-Gêne” attributed to her by the dramatist Victorien Sardou. An excellent set of documents including a rare D.S., `Duchess de Dantzig´, at the base of the letter and beneath an annotation in her hand `A voucher as receipt´, one page, 4to, Paris, 4th October 1822, in French. The Duchess acknowledges having received 4000 Fcs from M. Malraison as payment of the interest on the 150.000 Fcs loan she gave him. With tax stamps. Matted in beige, framed in wood and glazed to an overall of 10 x 12,5. Together with François Joseph Lefebvre (1755-1820) French Marshal of Napoleon. Duc of Dantzig. D.S., Lefebvre, with one line annotation in his hand, one page, folio, Germany, 11th November 1796, on the printed stationery of the 11th regiment of dragons. Lefebvre in his capacity as General approves the report received from Captain Georges Collot about the troops position. Countersigned by Joseph Bouvier des Eclaz. Also including an A.L, by Marshal Lefebvre, in the third person, one page, 8vo, n.p., 26th January, n.y., to General Foy, stating `Marshal Duc of Dantzig asks Lieutenant Foy to kindly attend dinner with at home..´ With blank address leaf. Also including Jacques Faizant (1918-2006) French Cartoonist, best known for his caricatures in the newspaper Le Figaro and Match Point magazine. A colourful signed original sketch, Jacques Faizant, 13 x 10 drawing paper, the original ink drawing showing the Duc and Duchesse of Dantzig, dressing with their gala uniform and dress. Faizant has added Madame Sans-Gêne funny comment, in pencil, `And first of all, even if you are a Marshal, you have to take off your cap when you talk to your lady!´. Also including Jane Sourza (1902-1969) French Actress. Signed programme, 24 pages, 8vo, 19th October 1959, being the Victorien Sardou´s comedy Madame Sans-Gêne, with Sourza playing the main role, and signing alongside her photograph. Accompanied by original entrance tickets for the performance. Also including Victorien Sardou (1831-1909) French Playwright and Author of the historical comedy Madame Sans-Gêne (1893). A.L.S., V. Sardou, on a his personal printed stationery 4.5 x 3.5 card. Also including Gloria Swanson (1899-1983) American Actress. A good signed and inscribed 10 x 8 photograph `To Peter, Greeting, Gloria Swanson´, the image depicting Swanson in a scene of Madame Sans-Gêne (1925). G to VG, 8 £500-800Joseph Bouvier des Eclaz (1757-1830) French General of Cavalry. The present sketch by Faizant was published by Jour de France the 21st December 1996.
Lot 384
A platinum diamond set dress ring. The principle stone of light straw colour approximately 3.5ct is surrounded with a milligrain set halo of 20 brilliant cut diamonds. Gross weight 8.82 grams, size H. Condition Report. To be used as a guide only. Sizing beads inside the shank. Good condition.
Lot 2300
Early 20th Century Brussels Needlelace Fan, mounted on pink mother-of-pearl (including the leaf supports), together with Mid-19th Century Green Silk Folding Parasol; Two Souvenir Fans; a Glass Bead Necklace and an Agate Bead Necklace; and a Late 19th Century Embroidered Silk Lace Trimmed Dress Front (7)Needlelace fan - leaf is foxed and has an area of damage left of centre and slightly right of centre. Parasol - silk layers completely shattered. Remainder of lot - ok overall.
Lot 2302
Early 20th Century Large Tomato Red Feather Fan, on gilded mother-of-pearl sticks; together with a Soft Grey Ostrich Feather Fan, on smoky grey mother-of-pearl sticks; a Cream Ostrich Feather Fan, on tortoiseshell sticks; an A-Symmetrical Feather Fan, possibly eagle feathers; a Court Presentation Feather Headdress; and a 1920s Young Childs Feather Fancy Dress Chick Outfit (all contained within a brown pigskin case) Red fan - sticks broken, pasts missing. Grey fan - sticks broken but present. Other fans good,.
Lot 2036
Early 19th Century Pieced Quilt, central floral medallion bordered by ever-widening strips of miscellaneous chintz and dress fabrics, strong colours and multiple designs to the varying fabrics, regular quilting throughout, plain cream backing, 236cm by 252cm One brown fabric noticeably fading and wearing in places.
Lot 2037
A Late 19th Century Military or Soldier's Quilt, fashioned from wool serge uniform fabric, very bright colours (red, yellow, black and blue), a feature of such quilts made in India at that time usually by servicemen injured in battle, central square block with inner block on the diagonal, containing five circles within which there are two five-pointed stars, further bordered with a chevron border cornered with Union Jacks, the final wide red border featuring three regular large diamonds to each side, small blue squares to each corner and the quilt is bound with blue braid. Reverse side with printed cotton in muted shades of orange and brown, itself in a 'patchwork' print featuring dogs, cats, period dress fabrics, bordering a different 'patchwork' print in reds, dull blues and greens, featuring sailors and naval officers in uniform, on board a ship, courting ladies, overall background colour red featuring strong yellow, black and blue, 250cm by 220cm Provenance: Made by Master Tailor H Cormack during his service in India during late 19th century. Believed to have been serving in Rowalpindi Generally fine condition, very well designed and executed. The fabric has been nibbled here and there, one notable area within the black/cream chevron border, another within one yellow diamond. One three inch tear to both layers at one side. Cotton fabric on reverse rather worn and split on seams.
Lot 2042
Edwardian Chemical Lace Stole, in the fashion of Irish crochet, with short rear panel and very long front panels, trimmed at the neck with silver coloured metal cording, trimmed throughout with hanging bobbles, a strong design of flowers with raised centres; together with an Edwardian Floral Silk Bodice, by Portier, London, Lower Seymour St. embellished with lame ribbon and sequin trim; further Small Amount of Dress Trimming and a Quantity of Chemical Lace in the Irish crochet style, some Handmade Irish Crochet and other machine laces (qty)Stole - generally sound and a large useful item. Bodice - shattered throughout.
Lot 2045
Early 20th Century Fine Lace Dress, made in the style of Normandy lace with a mixture of embroidery, filet panels and machine lace, with underskirt in gold lamé; together with Fine Lawn and Lace Petticoat with broderie anglaise insertion; a Quantity of Black Machine Lace; a Fine Bonnet Veil, of black Honiton lace; Quantity of Cream Edwardian Lace; a Fine Long Piece of Cream Embroidered Net; a Quantity of Victorian Broderie Anglaise, some fragments of Brussels Point De Gaze, and a Painted Satin Panel, depicting oranges
Lot 2050
Assorted 19th Century and Later Lace, including trimmings, black lace flounce, white net flounce with embroidered flowers, cream net flounce with needle run embroidery, cream lace flounce of foliate design, white shawl with floral appliquéd decoration and lace edging, etc; Five Late 1930s Home Notes Dress Booklets with dress patterns, various copies of Fancy Needlework Illustrated, four other 1930s magazines with patterns; assorted lace including trimmings, black lace flounce, white shawl with floral appliqué decoration and lace edging, etc (one box)
Lot 2062
Circa 1845 Floral Cotton Ladies Dress, sleeves shaped at elbow at which point there are three tucks, piping to neckline, cuffs and lower hemline, hook and eye rear fastening, fitted waist, V shaped tucking to front of bodice Generally sound, some shading (probably from storage) to the fabric. Repair needed to very bottom of rear opening.
Lot 2063
Circa 1840s Young Girls White Cotton Dress, ruched bodice, long sleeves, machine lace trimming to collar, upper sleeves and cuff, with a piped waistline, broderie anglaise and one tuck to the hemline, hook and eye rear fastening; together with Young Girls White Cotton Spencer, long shaped sleeves, covered buttons, frilled collar; an Edwardian Young Girls White Cotton Blouse, with tucks and machine lace insertion, button back, fitted waist; and a Mid-19th Century Girls Beige Shoulder Cape, lined in beige glazed cotton, trimmed with raspberry braid, tied at neck with silk ribbon (4)White garments generally sound, beige cape well nibbled.
Lot 2064
Circa 1845 White Cotton Ladies Dress, wide sleeves culminating in fitted cuffs, decorative pleating to top of sleeve followed by a decorative frill, one additional cotton tier at hem line, rear hook and eye fastening, neckline trimmed with a slender edging of bobbin lace, together with a matching cotton collared frilled perlerine No major condition issues, soiled from storage.
Lot 2065
Circa 1835 Ladies White Cotton Dress, wide sleeves tapering to narrow cuffs, extremely gathered skirt at waistline, front gathering feature to bodice, hook and eye fastening at waistband, very simply embellished with broderie anglaise Quite sound throughout other than a tear to the rear of the left sleeve. Small stain which has gone into a whole (to the left below rear opening). Some black marking to lower skirt and odd rust stains to the skirt.
Lot 2068
19th Century Reproduction of a Mary Antoinette Gown, probably made for a fancy dress ball or theatre, comprising petticoats, over petticoat, lace skirt, rear fastening stiffened bodice, fabrics used being satin, glazed cotton, floral woven silk and pink ribbons Bodice and skirt beautifully made, trimmed with machine lace which is damaged (especially at the hem), woven floral silk is splitting in places, mannequin included.
Lot 2071
Circa 1860s Grey Wool Dress of Quaker Interest, front button fastening, simple pleats to bodice, blue velvet trim to long sleeve cuffs, gather at waistband on rear of skirt A very simple and formal dress of the sort worn by Quakers Wool is nibbled in several places on the sleeves and the skirt. Wear to the button holes. Otherwise appears good.
Lot 2076
Circa 1870s Brown Silk Three Piece Ensemble, consisting of a fitted jacket with high neck, long sleeves, trimming of brown velvet and darker brown silk, a trained skirt with velvet edging to hem with an overskirt with applied bows to pocket, front and verso; together with Mid 19th Century Maltese Black Lace Mantle, labelled E Crane & Co, Whitby; Maltese Black Lace Bonnet Veil; approximately six metres of Maltese Black Lace Trim; a Maltese Black Fine and Deep Lace Collar; a 1920s Black Net and Figured Velvet Evening Dress; a Reproduction Cream Frilled Broderie Anglaise Skirt; and Four Knitted Shawls, and one Chinese Silk Embroidered Neck Scarf
Lot 2091
Large Quantity of Early to Mid 20th Century Gents Mainly Wool Garments, including jackets, overcoats, waistcoats, breeches, hunting waistcoat and jacket, red evening dress tailcoat, striped blazers (one dated 1903) (17); together with a quantity of stirrups and collars (contained within two tin trunks)
Lot 2097
Circa 1910-20s Costume, including a Purple Day Coat with button detail to the collar, single button fastening, pleated detail to the sides; White Cotton Muslin Dress, with cutwork and embroidered detail, long sleeves and Peter Pan collar; Black Chiffon Sleeveless Dress, with drop waist, embroidered overall; Net Drop Waist Dress, printed with purple crossed 'c's' and floral lace appliques (4)
Lot 2100
Assorted Early 20th Century Costume, including a lace coat with capped sleeves; cream net and lace blouse; pale blue Chinese style brocade dressing gown; Chinese style jacket embroidered with coloured silks, with a wool lining; stylish cream and floral knee length coat with belt; Saks Fifth Avenue purple floral cocktail dress; a similar lime green satin evening jacket; and a pink wild silk shift dress with matching jacket (7)
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227115 item(s)/page