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Lot 590
A group of GB and Irish coin packs, including "The British Empire Collection", "Coins of Ireland", and a quantity of "Britain's First Decimal Coins" packs, etc, together with a framed Queen Victoria Centenary Collection, comprising a Penny Red, a young and a veiled head penny, and a Penny Farthing coin display, largest 22 x 16.5 cm overall
Lot 18
An inter-War and Second World War gallantry medal group, comprising the Military Cross (1940) and Bar, India General Service Medal with North West Frontier 1937-1939 clasp impressed to Lt F W Macd Quigley, 2-4 Bombay Grs, Second World War campaign medals and 1939-45 India Service Medal, together with related documents. [Festus William MacDonagh Quigley, "Awarded MC as immediate award vide Headquarters Waziristan District...dated 30.4.40 for independent patrol action South Waziristan Scouts near Ladha", Bar to the Military Cross, "In the West Mayu, Arakan, on 10 Apr 44, two coys 8/9 Hyderabad Regt were ordered to capture an important feature. The troops had arrived in the area only that day and were going into action for the first time in their lives. The assault involved a night march of over 1.000 yards over very difficult broken country covered with thick jungle followed by a steep climb of 700 feet also through thick jungle. A/Major F W Quigley was the comd of the leading coy and led the approach. It was his indomitable spirit which kept his men going through an extremely arduous march of some 8 hours. He led his men up to and deployed them 10 yards from the objective and then led the assault. He stood up on the top of the hill directing and encouraging his men completely regardless of his own safety and of the shower of grenades and bullets all around. His leadership was decisive and the enemy were driven from the position. He rapidly re-organised and beat off an immediate counter attack. Throughout the operation his conduct was beyond praise. It was his determination which encouraged his men to overcome the many difficulties of the approach and his magnificent personal example and fine leadership of the young inexperienced troops which led to the success of the operation."
Lot 1540A
Two vintage Frödinflies fishing posters "Classic Salmon Flies" and "Modern Salmon Flies", uniformly framed under glass, 103 x 72.5 cm overall [Mikael Frödin started his first fly tying company, International Fly Tying, in the 1970s. Mikael tied all the original flies and organized them to be shot in one single photo by a Swedish photographer.]
Lot 132
A C H Brannam pottery money box , made for W.H.S, born September 1st 1905 , believed first name to be William, C H Brannam 'Barum' mark incised on the base, approx. 12cm high . Together with a 1911 Brannam pottery King George V coronation mug , also inscribed "Willie", approx. 8cm high Further Details: Small chip to base of 1911 mug.
Lot 407
COLLECTION OF ROYAL DOULTON FIGURES AND OTHER CERAMIC FIGURES including 'Kathy' HN 4926 with certificate of authenticity, 'Melissa' HN 3885, 'First Performance' HN 3605', 'Elaine' HN 3214, and many other Royal Doulton figures, also other figures including a limited edition Royal Worcester figure of 'Crystal Ball' 830/4950Qty: 22
Lot 477
GROUP OF STAMPS AND FIRST DAY COVERS including several volumes of 'Royal Mail Special Stamps' comprising 'Royal Mail Special Stamps 1984', 'Royal Mail Special Stamps 1991', '2001 Royal Mail Special Stamps 18', 'Royal Mail Special Stamps 14', 'Royal Mail Special Stamps 16' and many binders of stamps and first day covers
Lot 24
Daniel O'Neill (1920-1974) Interior with FigureOil on board, 40 x 30cm (15¾ x 19¾")SignedProvenance: With the Waddington Galleries Inc., Montreal, Canada, label versoBelfast painter Daniel O'Neill made the decision to paint full time in 1945 having worked as an electrician in the Belfast Shipyards. He first exhibited with Victor Waddington in 1946, and later with the Dawson Gallery in Dublin in the 1960s. He moved to London in the late 1950s, finally returning to Belfast in 1969, where he continued to paint his highly recognisable portraits of women and girls as well as his haunting figures in landscapes. The evocative style and intense colours used by O'Neill make for poignant and expressive pictures, and he has often been described as a romantic painter.
Lot 46
Jack Butler Yeats RHA (1871-1957)I Will Not Sit on the Grass, She SaidIndian ink and watercolour, 11.3 x 15cm (4½ x 6")SignedProvenance: With the Dawson Gallery, Dublin; Sale, Sotheby's London 10/06/81, Lot 158, where purchased by the present owner.Jack B. Yeats produced his greatest volume of watercolour work during a period (c. 1897-1910) when he was also very active as a cartoonist and illustrator. So, as much as the eye is drawn to the vivid application of finely judged colour, it is the boldness of line, the clarity in the rendering, and occasionally also the humour, that characterizes much of this collection. The skills of draughtsmanship which he undoubtedly possessed had been honed, without tuition, during the hours of obsessive sketching and doodling with which he had occupied himself from an early age. He excelled as a black-and-white artist, and producer of fine watercolours and drawings, during the period that preceded his entry into the world of oil painting with which he is more commonly associated (though he would continue to produce work in all these areas for many years). He was living in England, the country of his birth, throughout this time, and one can detect traces of some of the great English graphic artists, such as George Cruikshank and Phil May, though he evolved an idiosyncratic and recognizable style all his own from early on. A hint of the bizarre, suggestive of Francisco Goya or James Ensor, add a mysterious flavour to works such as the wonderful pencil and watercolour piece, Blue Jackets in Fancy Dress, also known as Men-o-Wars in Fancy Dress (Costume),(Lot 52) which depicts an unusual group of figures ascending a quayside ladder in Dartmouth.There were regular trips back to Ireland, and in dozens of compact sketchbooks he documented the characters and incidents of small-town life, many related to fairgrounds and to horse racing. Hilary Pyle tells us that these sketches, themselves often in ink and watercolour, would form the basis of larger works completed at home in his Devon hideaway, Cashlauna Shelmiddy. Losing nothing in the transition, the finished works retain the spontaneity and raw spark of the quickly rendered sketchbook drawings. Horses appear in a number of the pictures in this collection (The Race (Lot 47); The Baker Rode a Pie-Bald (Lot 51)), and they would be central to his art throughout his life. They could function metaphorically, particularly in the later work, but Yeats could also be more direct in his celebration of their sheer physicality, power, and speed. He was equally fascinated by the enigmatic riders, steely-eyed protagonists in many drawings and paintings, and by the bustle of the social worlds in which they moved. The beautifully observed pen and ink drawing of The Crown and Anchor Man (Lot 48) is typical of the unique characters- the street performers and race day vendors, circus and fairground entertainers- to whom Yeats was repeatedly drawn during this period.Yeats’s first solo exhibition of watercolour sketches, the majority of which were executed in Devon, was held at the Clifford Gallery in London in 1897. In 1899 he held another exhibition of his work, titled “Sketches of Life in the West of Ireland,” at the Walker Art Gallery, again in London, repeated later that year at Leinster Hall in Dublin. Throughout this period Yeats alternated between galleries in these two cities, averaging one solo show annually up to 1914. He subscribed to a press cuttings agency- Romeike and Curtice of the Strand- and pasted his notices and reviews into a scrapbook, which attests to the largely positive response that his watercolour work received at the time. A critic for the Daily Express, on visiting the first Dublin show, wrote that “(n)o one, it seems to us, has studied the humbler side of Irish life with such insight and intelligence, and certainly no Irish artist has ever given us so graceful and fresh a representation of its pathos and humour.” Commenting on another Dublin exhibition two years later, a reviewer for the United Irishman remarks, with some prescience, that “these pictures will some day be looked upon as important historical records.” Indeed there is an almost documentary approach to many of his subjects, unsurprising given the journalistic collaborations with J.M. Synge that saw them render, in prose and illustration, the rawness of life in Mayo and Connemara for the Manchester Guardian in 1905. Yeats would return again and again to the rural sites of sporting competition and public entertainment, often with an eye for the onlookers, as in the busy and endlessly appealing composition of A Good Winner (Lot 50). Many works from this period combine observation from real life with the mischievous caricatural twist that typified much of the material he was also producing for the humour periodicals and early comics. The suggestion of gently ribald comedy in I will not sit on the grass, she said (Lot 46) exemplifies the playful interplay between caption and image that Yeats imported into the art gallery from those popular contexts. The strong outlines and striking compositions evident in these pieces, for example Figure of a Young Woman in a Landscape (Lot 53) and Beggar at the Door (Lot 49), also recall the well-known drawings that appeared in printed form in the series A Broad Sheet (1902-03) and later A Broadside (1908-1915) published respectively in London by Elkin Mathews and in Dublin by Dun Emer/Cuala Press.Michael Connerty, April 2023Lit: Hilary Pyle. Jack B. Yeats- His Watercolours, Drawings and Pastels. Dublin: Irish Academic Press. 1992
Lot 94
Frank McKelvey RHA (1895-1974)Coming from Mass, DonegalOil on canvas, 38 x 50cm (15 x 19¾")SignedFrank McKelvey studied at the Belfast School of Art in his hometown, winning the prize for figure drawing in 1912. He exhibited at the RHA for the first time in 1918 and continued to do so annually for the following fifty years, being elected a full member of the academy in 1930. Between 1923 and 1935 McKelvey exhibited regularly at the Glasgow Institute of Fine Art and his first solo show was held at Locksley Hall, Belfast, in 1934 and again in 1936. His first solo show in Dublin was held at the Victor Waddington Galleries in 1937. During the 1920s McKelvey received many portrait commissions and his work was included in exhibitions of Irish portraits at the Belfast Museum and Art Gallery in 1927 and 1931. He was also included in a major exhibition of Ulster artists at the same gallery in Festival Exhibition 1951 and another at Ulster House in London in 1947. McKelvey’s work can be found in the collections of Queen’s University Belfast, the Royal Ulster Academy, the Masonic Hall in Dublin, Crawford Gallery in Cork, and the Royal Palace of Soestdijk in the Netherlands.
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596780 item(s)/page