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Lot 562
An early 20th Century all-in -one undergarment; a 1930s pale pink nightdress, a pink satin and lace bed jacket, a red and white 1940s blouse, a yellow and black patterned blouse, a 1950s floral cotton full length evening gown, a Linzi Line grey floral ball gown with matching bolero, a late 1950s floral sundress, a pale pink and white summer dress, a late 1960s moss crepe shirt by Sybil Zelker, a geometric patterned jacket, black velvet waistcoat, two felt hats, a white Glomesh handbag and a Coty scent bottle
Lot 576
A cream chiffon bridal train decorated with lamé motif and edged with metallic ribbon; a reworked dark green velvet and lace dress, a 1970s Gina Fratini pale pink velvet pinafore style maxi dress, a late 19th Century black cape, a black silk velvet evening cape, a cream Gina Fratini maxi dress and a cream silk and lace blouse
Lot 577
An ivory satin wedding dress and matching shoes, circa 1963; a late 1950s Perlmutt Model pale blue full-length satin bridesmaid's dress with cap sleeves and crêpe sash; and an ivory satin Dickins & Jones full-length evening gown with embroidered bead and diamante detail to the bodice, UK sizes 10/12 approx. (3)
Lot 595
A 1930s black silk velvet evening jacket; a 1ate 1930s maroon and white patterned blouse, a chiffon lined black silk velvet evening cape, a 1950s green Doreé Model evening gown, two cream silk blouses, a blue silk Chinese cheongsam dress, a Japanese cropped evening jacket, a late 1950s black beaded evening top, a lightweight brown jacket with sketched design of London tourist attractions and a black blouse. UK size range 8 to 12 approx
Lot 602
A mixed lot of ladies costume; to include a green tartan traditional kilt, a 1970s hand knitted tank top, a girls German traditional dirndl dress, a James Pringle kilt, a cream cable knit cardigan, a pale green pure new wool jumper, a blue dressing gown, a cream Arran cable knit sweater, two floral 1970s skirts and a quantity of similar garments (a lot)
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 13
Norah McGuinness HRHA (1901-1980)Above the BayOil on canvas, 51 x 89cm (20 x 30'')SignedProvenance: From the collection of the artist's sister, Rhoda and bequeathed to the current owner.Exhibited: 'Norah McGuinness', The Leicester Galleries, London, 1963, Catalogue No.25, where purchased by the artist's sister Rhoda; 'Norah McGuinness', The Frederick Gallery, April - May 1996, catalogue No.18, on loan from Rhoda McGuinness; 'Norah McGuinness Centenary Loan Exhibition', Dalkey Castle Heritage Centre, 2002, Catalogue No.19, under title 'From Bray Head'.Norah McGuinness painted the east coast of Ireland extensively. Living in Dun Laoghaire, she developed a passionate interest in the seashore, its birdlife and the patterns of the water, the sand and the mud flats of Dublin Bay. This work is a panoramic view of a coastal town in Co. Wicklow, possibly Greystones. A solitary figure in a white dress stands on the crest of the hill giving perspective and scale to the surrounding vista. Her isolation contrasts with that of the groups of figures on the strand behind her. Above the Bay, like many of McGuinness’s other works, is strongly influenced by her close but increasingly flexible understanding of cubism which she learned in Paris with the Cubist artist André Lhote in the 1920s. She had earlier studied design with Harry Clarke in the Metropolitan School of Art in Dublin and she worked extensively as an illustrator and window designer in London, New York and from 1939 in Dublin. She brings this experience to bear in her treatment of the landscape in this work. The vagaries of nature are transformed into a rich densely coloured and patterned surface. The land and distant mountains are presented like a tapestry of differing green and brown squares. The sky is blocked out into larger geometric shapes of greys and white. The sea is composed of broad brushstrokes of turquoise, blue, grey and white. In contrast the town appears like a series of childlike blocks that enable bright green, pink and yellow to be introduced into the painting. There is a distinctive and decidedly cosmopolitan quality to this rendition of the landscape. The skilful blocking of form and colour makes the view appears consciously modern and stylized. McGuinness’s assured understanding of form, as seen in this work, has enabled her to construct a vivid and graceful painting that succeeds independently of reality. Dr. Róisín Kennedy
Lot 132
Basil Blackshaw HRHA RUA (1932-2016)Little Girl's DressOil and pencil on cardboard, 40.5 x 35.5cm (16 x 14”)SignedProvenance: The Eamonn Mallie CollectionExhibited: ‘Basil Blackshaw Paintings 2000-2002’ exhibition, The Ulster Museum, December 2002 - May 2003.Literature: ‘Basil Blackshaw Paintings 2000-2002’, Ulster Museum, illustrated p.33; 'Basil Blackshaw’ by Eamonn Mallie, illustrated Plate 115, p.269.Down the years I came to realise Basil Blackshaw would paint on an eyelid if that surface spoke to him. He loved a wide range of surfaces in various materials - canvas, paper, X Ray sheets, newspaper, wood and so on. He drew no distinction when it came to value or significance he placed on a work in any one medium. It was all about living the experience of that which he gained from working in his surface of choice.'Little Girl's Dress' is executed on corrugated cardboard. He deliberately chose that surface to win that feeling being pursued at that moment in time. The first time I saw 'Little Girl's Dress' Blackshaw declared I could cry when I look at that wee dress. Nothing more was said. I knew what he meant. Basil, a recovering alcoholic whose marriage to Anna Ritchie, a fellow artist broke up while his daughter Anya was still a child, had by his own admission, missed out on many of her early years and dedicated many decades later heaping his love upon her as he made up for lost time. 'Little Girl's Dress' is essentially a portrait of Anya as a child - replete with the face of the dress parading strawberry coloured stains so synonymous with little girls' dresses of a particular era. Eamonn Mallie
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 269
An antique ruby and diamond dress ring in 18ct yellow gold set with a one round and two rectangular step cut rubies in a floral arrangement with ten round cut diamonds, flanked on either side by a row of eight further round cut diamonds, stamped 750. Estimated total ruby weight 0.5cts, estimated total diamond weight 0.45cts. Ring size 8 / P. Gross weight 7g.
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227115 item(s)/page