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![Harry Clarke RHA (1889-1931) and others LEATHER BOUND SKETCHBOOK OF ILLUSTRATIONS, POEMS AND DRAWINGS, 1910-1914 [13 WORKS] w](https://cdn.globalauctionplatform.com/7e78431c-30a1-4d12-b6fb-a60100aaf6fb/f7a656df-e9d2-4d01-a225-89eab9750b85/468x382.jpg)
Lot 105
Harry Clarke RHA (1889-1931) and others LEATHER BOUND SKETCHBOOK OF ILLUSTRATIONS, POEMS AND DRAWINGS, 1910-1914 [13 WORKS] watercolour; (5); ink; (5); charcoal; (2); pencil; (1) variously signed, inscribed and dated 8¼ x 5¾in. (20.96 x 14.61cm) Private collection, Dublin;Thence by family descent to the present owner Dimensions of sketchbook given. The sketchbook comprises 13 illustrations and poems - variously dated from 1910 to 1914 - by a range of contributors, some represented by their initials alone others include the celebrated stained glass artist Harry Clarke, cartoonist Gordon W. Brewster (1889-1946), a William M. Gibson, a John Dyer Winmdermere and a J.K. Ryan. Brewster was editorial cartoonist for the Irish Independent group of newspapers. A large collection of his cartoons (mainly on economic matters) for the Evening Herald and Irish Independent newspapers in the 1920s and 1930s can be found in the collection of the National Library of Ireland.Among the varied subjects are: Old Houses, St. Mary's, Drogheda, Portraits include: H. Beerbohm Tree [by Gibson], an unidentified gentleman [Clarke, April 1910], Kathleen Clarke [13 October 1911] possibly the widow of Thomas Clarke and a Mr Kelly [16 July 1913]. A delightful cartoon entitled 'A Night at a Fancy Dress Carnival' [Brewster, 1913] a comical depiction of 'The Spirit of the Black Raven Pipers at Lusk' (est. 1910) and a topographical scene of a location Near Painswick, Gloucestershire [1912] are among the other works included. P
Lot 23
Jack Butler Yeats RHA (1871-1957) SAINT FRANCIS OF ASSISI, c.1903 gouache on card signed in monogram upper left; with Dawson gallery framing label on reverse 31½ x 19in. (80.01 x 48.26cm) 'Auction in Aid of the RHA Gallagher Gallery', Ely Place, Dublin, 6 May 1988; Where purchased by the present owner This gouache was intended as a design for an embroidered sodality banner for Loughrea Cathedral, Co. Galway. It was executed in 1903 as part of a commission awarded to the fledgling Dún Emer Guild, which was founded in 1902 by Evelyn Gleeson. Her two principal partners in the venture were Jack Yeats' sisters, Susan and Elizabeth (or Lily and Lolly as they were known to family and friends). When the Guild received this prestigious commission, they invited Jack and his wife Mary (known as Cottie) to supply designs for the banners. Jack designed the Sacred Heart banner and the banners for all the male saints bar two (these were designed by Æ), whilst Cottie supplied designs for nearly all of the female saints. In all, twenty-nine banners were completed, with a further four designs being executed but ultimately not used. In the present work Yeats depicts St. Francis of Assisi, the Patron Saint of Ecology celebrated for his great love for animals and the environment. The scene depicted would suggest a reference to his Sermon to the Birds. In common with other Loughrea designs, the figure is drawn in heavy black outline silhouetted against a pale background. They wear monastic dress or Old Irish garments and their movement is created by the different attitudes or poses they adopt and by the vigorous lines or the folds of their garments. At the time of the commission, The Irish Homestead described the banners as displaying 'freshness and quaint naturalness', combined with 'sympathy and native feeling' and hailed them as the start 'of a new epoch in art work of this kind, wherein originality of design shall replace vulgarity and simple beauty replace tawdriness' (13 February 1904, p. 134).Examples of these designs can be found in the National Gallery of Ireland and Áras an Uachtarain.For further reading see: Pyle, Hilary, Jack B. Yeats: His watercolours Drawings and Pastels, Irish Academic Press, Dublin, 1993, nos. 447-459, p. 121-125. P
Lot 35
Gerard Dillon (1916-1971) THE FISH EATERS, 1946 oil on board signed lower right; Arts Council of Ireland label on reverse 17¼ x 21in. (43.82 x 53.34cm) C.E.M.A. Collection, Tyrone House;Arts Council of Northern Ireland;Sotheby's, 24 November 1993, lot 29;Private collection;Sotheby's, 13 May 2005, lot 97;Private collection 'Gerard Dillon Retrospective', Municipal Gallery of Modern Art, Dublin, 5 January to 4 February 1973, catalogue no. 24 S. B. Kennedy, 'Irish Art & Modernism 1880-1950, Belfast, 1991, p.141 (illustrated) In The Fish Eaters Gerard Dillon draws inspiration from Celtic manuscripts and the relief carving on the High Crosses that he studied while staying with his friend, the artist Nano Reid, in Drogheda. Dillon and Reid went out sketching to Monasterboice and Mellifont Abbey in the Boyne Valley where they studied the architecture and the relief carving on the monumental High Crosses which date from the tenth century. While staying with Reid in 1950, Dillon wrote to the Australian art historian Bernard Smith, 'I've done a lot of watercolours from early Christian carvings on an old Celtic Cross near here, they are wonderful - all the male figures have got big walrus moustaches like Douglas Hyde, the last President.' (1)The 'big walrus moustaches' that Dillon admired, one of which can be seen in The Fish Eaters, originate on Muiredach's Cross at Monasterboice. Like the Tall Cross at the same site, Muiredach's Cross is a 'scripture cross' carved with scenes from the Bible. In later paintings such as Holy Island, Dillon included balding figures with long curling moustaches that are comic self-portraits. The resemblance between the moustached figure in The Fish Eaters and the artist is not as obvious as it is in later works but this may still be an instance of the artist putting himself into the painting. As Niamh NicGhabhann has pointed out in her essay in the catalogue for the exhibition Nano Reid and Gerard Dillon, the images that Dillon borrowed from the high crosses were often changed or rearranged to suit his needs. (3) In this work, he has utilised the stylised figurative style and flattened perspective from high crosses to create a scene of four figures eating a meal of fish and potatoes. The bottle of Chianti in its traditional fiasco bottle, brings a contemporary note to what could otherwise be a timeless scene. From the window a west of Ireland landscape is visible and the statue of the Madonna and Child also helps to contextualise the scene. Unlike the similar work, Fast Day, which is now in the Drogheda Municipal Collection at Highlanes Gallery, The Fish Eaters does not feature the stylised patterning taken directly from Celtic manuscripts such as The Book of Kells. And yet, the simple dress and bare feet of the four figures, which appear to be two men and two women, are more austere than other paintings of this period. The unadorned interior, simple clothes and dominance of the statue of the Madonna and Child may suggest that this is an image of a religious community eating the traditional Friday meal of fish, or simply a very poor and pious household. Nano Reid's painting Friday Fare, painted in 1945, a year before The Fish Eaters, also depicts a table laden with fresh fish, wine, fruit and vegetables, ready to be made into Friday's dinner.In his biography of Dillon, James White suggested that the high cross carvings plus the influence of manuscript illuminations, allowed Dillon to move away from the literary nature of much Irish art and to combine narrative painting with modernist flatness. In The Fish Eaters, Dillon is not illustrating any particular story but does hint at a narrative that is neither ancient nor modern, but timeless. Dr Riann CoulterApril 20161. Letter from Gerard Dillon to Bernard Smith, 1950, CSIA, National Gallery of Ireland. 2. Niamh NicGhabhann, 'Ancient and Modern', Nano Reid and Gerard Dillon, exhibition catalogue, Highlanes Gallery, Drogheda, 2009, p.52. L
Lot 583
An early 20th century rectangular strut clock. With engine turned engraved dial mask, Arabic chapter ring and painted to the dial with a boy collecting flowers in 18th century dress. Dial signed Swiss, 8 days, 16.5cm wide. Condition Report. To be used as a guide only. Running. Crazing to the dial painting. Some tarnishing to the dial mask.
Lot 797
Sir Joshua Reynolds, P.R.A. (1723-1792). Gilt framed monochrome oil on canvas. Portrait of Lady Standish (died 1780) wearing a white dress and black wrap, 74cm x 61cm. Provenance; Recorded in Reynolds' sitters book of 1758, painted on four sittings; May 4 at (nine), 8th (eleven thirty), 11th (midday) and 15th (midday). Passed to her daughters on her death by her first husband, Elizabeth Smyth, who married Robert Ramsden, Wigthorpe Hall Nr Worksop and by family descent until sold at Christies June 1977. Condition Report. To be used as a guide only. Re framed. Relined. Cleaned. Craqualure.
Lot 341
A Charles Horner hallmarked silver and enamel dress set comprising a tie pin and three matching dress studs, with shank attachments, in the form of an Art Nouveau flower with blue green guilloche enamel, with white enamel centres, Chester 1910 (4). CONDITION REPORT: The pin for the tie pin is not quite straight but it stays in the curled metal clasp (like a basic safety pin). We cannot see any losses to the enamel. We are unsure how they work but we have seen similar attachments to dress studs previously.
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228098 item(s)/page