ARR Brangwyn (Frank, 1867-1956). Frank Brangwyn and His Work. By Walter Shaw-Sparrow, London: Kegan Paul, Trench, Trübner & Co. Ltd, 1910, xiii [1] 157 pp., text printed on thick paper, half-title, 2 original etchings, each signed by Brangwyn in pencil ('A Canal in Venice' and 'A Grey Day'), 20 colour and 17 collotype plates (mounted), top edge gilt, others untrimmed, contemporary green quarter morocco binding for Hatchards, green cloth sides, vellum tips, spine sunned and rubbed, folio (39.2 x 27.7 cm)Qty: (1)NOTESFirst edition, deluxe issue with two etchings signed by Brangwyn, number 11 of 160 copies; the two signed etchings did not appear elsewhere, and the list of contents states that the original plate of 'A Canal in Venice' was subsequently destroyed. There was also a trade issue in large octavo, without the signed etchings.
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* Strang (William, 1859-1921). Thomas Hardy, O.M., 1920, etching on cream wove paper, printed with plate tone, a unique proof of the first state, signed and marked in pencil First State 1 proof, additionally signed 'David Strang Imp.', plate size 35 x 23.6 cm (13.8 x 9.3 ins), sheet size 41.6 x 27.1 cm (16.4 x 10.7 ins), framed and glazedQty: (1)
* Waller (Mervyn Napier, 1893-1972). The Ring, 1923, wood engraving on cream wove paper, from the published edition of 50 impressions, signed, titled and numbered 13 of 50 proofs, light mount stain and overall toning, crease to left blank margin, a few small nicks to extreme edges of the sheet (without loss), image size 275 x 210 mm (10.8 x 8.25 ins). sheet size 360 x 290 mm (14.2 x 11.4 ins)Qty: (1)NOTESAustralian muralist and stained glass artist Mervyn Waller created this remarkable print using his left arm only, having lost his right arm during the First World War. Based on William Morris's account of the Norse epic Volsunga Saga, it depicts Sigurd the Volsung on horse, carrying his shield.
* Tchelitchew (Pavel, 1898-1957). Sheet of head and figure studies, including sketches for a portrait of the American modernist writer Jane Heap (1883-1964), circa 1930, pencil on a single sheet of off-white wove paper, with five (or six?) sketches of the head of Jane Heap, editor of the avant-garde literary magazine The Little Review, and founder in 1924 of the Little Review Gallery in New York City, and four standing figures including two with a watering can, inscribed by the artist to verso in pencil 'Jean Heap' and with (partial) signature also to verso, the sheet now laid down on archival paper, with small repairs to extreme sheet edges, sheet size 432 x 280 mm (17 x 11 ins)Qty: (1)NOTESThe remarkable (and largely overlooked) lesbian modernist artist, writer and gallery owner Jane Heap was a powerful intellectual figure in New York, Paris and London during the 1920's, 30's and 40's. She joined Margaret Anderson as editor of The Little Review (1914-1929), the foremost magazine in America for avant-garde writing, and the first to publish excerpts from James Joyce's Ulysses. Known for her masculine appearance, Heap wore men's suits, often with a cape and Russian fur hat, and dark red lipstick, vividly captured in the famous portrait photograph of her (circa 1928) by the renowned American photographer Berenice Abbott.
* Belleroche (Albert de, 1864-1944). Portrait of Alice Milbank, the artist's mother, oil on canvas, head and shoulders portrait of a woman wearing a low cut gown and with her brown hair piled up on her head, some small surface scratches and consequent minor losses, 64 x 47.8cm (25.25 x 18.75ins)Qty: (1)NOTESProvenance: Estate of William de Belleroche (1913-1969), son of the artist; estate of William's partner Gordon ‘Andy’ Anderson. Celebrated socialite Alice Sidonie Milbank Vandenburg née Baruch (circa 1840-1916) was said to be blessed with beauty "almost legendary". Her first marriage, to Edmund Charles, Marquis de Belleroche, was an unhappy one, although it produced a son, artist Albert Gustave de Belleroche. In 1871 she married Harry Vane Milbank, a celebrated duellist, huntsman and adventurer as well as an inveterate gambler. The family moved to Paris, where they entertained on a lavish scale, noted personalities such as Oscar Wilde, Edward VII, and John Singer Sargent frequenting their soirées. In fact the latter became a lifelong friend of Albert de Belleroche, the two artists going on to share studios in Paris and London, and each showing influences of the other in their work. In Paris Belleroche was a founder member of the Salon d'Automne, where he exhibited alongside the Impressionists and associated with the likes of Emile Zola, Albert Moore, Renoir, Degas, and Toulouse-Lautrec. Artist and printmaker William de Belleroche was greatly influenced by Frank Brangwyn, and he and his partner Gordon ‘Andy’ Anderson maintained a large circle of friends, many of them well-known artists, authors, actors and personalities of the post-war era, for example Duncan Grant, Augustus John, Dirk Bogarde, Judy Garland, and the Oliviers, to name but a few.
ARR * Chia (Sandro, 1946-). Untitled, 1978, mixed media (oil and paper collage), signed lower right, and dated '78, 37.5 x 35.5 cm (14.75 x 14 ins), framed, with Anthony d'Offay label to verso, and auction stencil CL 327Qty: (1)NOTESExhibited: Anthony d'Offay, London, 1981. The first London exhibition of the work of Sandro Chia, for which an essay by Anne Seymour, based on conversations with the artist, was published, entitled The Draught of Dr. Jekyll. From the late 1970s, Chia established himself as a key member of the Transavanguardia movement in painting, alongside Francesco Clemente, Mimmo Paladino and Enzo Cucchi, helping to reintroduce figurative painting to the art world, then dominated by minimalist and conceptual approaches.
A 19th turned, carved and giltwood "altar" type table lamp with acanthus and stop fluted decoration. on a molded spreading circular base. 58 cm high x 22 cm diameter (the base) Together with similarly carved and giltwood standard lamp. 150 cm high.Qty: 2Condition report: The first lamp. slight warp to the base and signs of age and usage.The standard lamp. A crack in the column above the central knop.
A 1992 Ford Fiesta Bonus white 3-door manual hatchback. 1.1cc petrol. Registration J67 0FH. First registered 16/03/92. Near-full service history, last service record for January 2019. Last MOT April 2019 at 65,205 miles (current mileage showing as 65,436). Receipt for re-spray work in 2019 present, with other repair / replacement parts receipts. V5C present. 1 key present.The Buyers Premium is 15%+VAT on this lot.Condition report: The car has been jump-started recently, but battery is flat and will require further charge.
Spence, Basil, 'The Phoenix at Coventry - The Building of a cathedral', signed, limited edition, number 143/500, in slipcase, Chris Bonington signed copy of 'Quest for Adventure', a limited edition 1938 facsimile 'The New Rupert Book', number 08994, Surtees Society, ten volumes of reproduced hunting books, in gilt slip cases, nine volumes Time Life Books with gilt edges, three volumes 'The Annotated Shakespeare' by A L Rowse, publ: Orbis, and The Norton Facsimile 'The First Folio of Shakespeare' second edition 1996, in slipcase, and others
The National Audubon Society Baby Elephant Folio 'Audubon's Birds of America', publ: Abbeville Press 1990, in slipcase; Andres, Hunisak & Turner 'The History of Paris/Rome & Venice in Painting' three volumes, 2 x Georges Duby, Guy Lobrichon , 1 x Caracciolo & De Ayala, publ: Abbeville Press 2007, 2009 & 2011, first editions, in sturdy slipcases; and The Art of Florence in two volumes, publ: Artabras 1994, in sturdy slipcase
Scientific Books & Catalogues, including; 'The Awakening Interest In Science During The First Century Of Printing, Stillwell' 1970, fabric cover; Historical Aspects of Microscopy, G L'E Turner, 1976, with dust jacket; 'Catalogue of Wheeler Gift' Vol 1 & 2, 1909; 'Bibliographical History of Electricity and Magnetism, Paul F Mottelay', 1922; 'Library of Harrison D Horbit - Early Science & Navigation , Part 1 & 2' Sothebys 1974 with price list; Heralds of Science - Burndy Library', 1955; 'Honeyman Collection of Scientific Books and Manuscripts - Sotheby Parke Bernet & Co', vol 1 - 7 with price lists;
Two French Apothecary Chests, The first with fold down front and back, with drawer to the base, run of blue glass bottles in the centre flanked by clear stoppered bottles to the front and back, incomplete, damages; the second apothecary chest with leather covered case containing various bottles, losses & damages, 23cm wide
Pair of 19th Century Pen & Ink Geological Sketches, the first titled 'Dunes Booth Wood, North of Rochdale, highlighting an outcrop of rocks, the next detailing a boulder found on Nicholas Pike 1050 ft above sea level each in recent card mounts, mounts 20cm x 25cm Provenance: According to the vendor, this formed part of the stock of Gregory Bottley & Co, the mineral and fossil shop originally founded in 1858 by James Reynolds Gregory.
Isenthal Vivian, An Archive of School, Travel, Domestic & War Diaries, Isenthal, Vivian. An Archive of travel diaries, notebooks, letters & drawings documenting her life, comprising thirteen extensively written diaries, the diaries are not a complete run, the first is dated July 3dr 1924 – August 1927 and covers her years at secondary school, giving details of academia, social life and family life, The rest are a comprehensively written number of diaries covering April 1930 to June 39 along with a separate travel diary covering Switzerland, the diaries cover all sorts of day to day topics of family life but become very interesting after the start of the second world war, along with a packet of handwritten letters and correspondence amongst family members and friends some based in Mosel Germany, (Qty: a small carton)
After Daniel Orme, 'To His Majesty', a coloured engraving depicting Lord St. Vincent's victory of Admiral Nelson boarding the two Spanish Ships and accepting the Spanish Admiral's sword, together with another by the same hand, 'To the Lord's Commissioners of the Admiralty', depicting 'The Celebrated Victory...On the Glorious First of June', each 46.5 cm x 58 cm, glazed in ebonised frames, and a further monochrome engraving, commemorating 'the Memorable Victory over the French...in the West Indies April 12th 1782 by Sir George Bridges Rodney, after Nicholas Pocock 91740-1821), engraved by Francis Chesham, 49.5 cm x 62.5 cm, glazed in an ebonised frame.Qty: 3
A George III marquetry inlaid and satinwood strung, mahogany bowfront dressing table mirror with oval mirror plate, the base fitted three frieze drawers, on shaped bracket feet. 46 cm wide x 55 cm high x 24 cm deep, together with a similar mirror with shield-shaped mirror. 52 cm high x 64 cm high 21 cm deep.Qty: 2Condition report: The first mirror. The mirror surround has some damage and old patches to the cross-grain surround and stringing. Old scratch to the top across the inlay. The central drawer sticks out proud of the surface. The mirror plate has few blemishes at the borders. The adjusting knobs don't match each otherThe second mirror. The mirror horns are slightly loose. old patches to crossbanding and stringing. Old veneer patch to the left back edge of the carcass. The mirror plate is peppered with small losses in the silvering and the whole plate has a "glitter" to it from age-related deterioration.
Collection of eighty Frank Hoar prints depicting work on the construction of Concorde, all numbered from a limited edition of 200, The original painting was exhibited at the Royal Academy in 1968.Harold Frank Hoar, FRIBA (13 September 1909 3 October 1976) was a British architect, artist, academic and architectural historian. He first came to public prominence when, at the age of 25, he won a competition to design the first terminal building at London's Gatwick Airport in the 1930s. His architectural career focused increasingly on town planning in the post war years, when he also became a well known public commentator on domestic architecture in that era of reconstruction. A senior lecturer at University College London, Hoar was an expert on the Bavarian Baroque and wrote histories of English and European architecture at a time when architectural modernism decried the value of an historical approach to architecture. He was also an accomplished water-colour artist, his work on architectural themes having often been exhibited in the Royal Academy in the 1950s and 1960s. In a wide-ranging career Hoar was probably best known as the cartoonist "Acanthus", where his work appeared in Punch, the Sunday Telegraph. The New Yorker and The Builder magazine; and as "Hope" in the Sunday Express. His cartoons reflected on the home front during WWII and were often accompanied by great architectural backdrops. As a cartoonist during the war, Hoar's political cartoons contemplated the long term direction of the war and of the perpetrators of its worst atrocities. Condition Report: 14 are mounted. The rest are loose. One has a few creases and crumples.
Tony Hart (British, 1925-2009). Bear with honey pot and bees. Ink on paper, signed. Paper size: 73 x 56cm. Rolled. Provenance: given by Tony Hart to the vendor at a fete in Wokingham in 1983. Sold with three copies of photographs of Tony drawing at the same event. Tony Hart (1925-2009): Norman Antony Hart was a legend of British TV and Childrens programming. An artist and presenter, best known for his work in educating children in art through his role as a children's television presenter. Hart initially worked as an officer in a Gurkha regiment until the start of Indian independence, whereupon he became involved in children's television from the 1950s, working on Blue Peter amongst other shows for a few years before fronting a series of children's art programmes, including Vision On, Take Hart and Hartbeat. He received two BAFTA awards. His first, for Best Children's Educational Programme, came in 1984 for Take Hart, and he was given a Lifetime Achievement Award in 1998. Tony lived in Shamley Green in Surrey from 1967 until he passed away in 2009.
Cameron (British, 20th century), head and shoulders portrait of a man in a large hat with a goatie beard, inscribed 'Though we travel the world over to find the beautiful, we must carry it with us or we find it not', and 'Thank you David for my first year' watercolour, signed and dated 1970, 27cm x 22cm,
Josephine Butler (British, 1828-1906). 'Antibes', inscribed verso 'At Antibes by Josephine Butler' and 'Nice and Maritime Alps from Antibes', watercolour, 20.5cm x 13cm. PROVENANCE: Given to Jonathan Withers on the occasion of his Christening. May 6th 1961 by his first cousin, twice removed ASG Butler. ASG Butler was Josephine Butler's grandson. Josephine Butler was Jonathan Withers great great great aunt. Josephine Butler was an eminent Victorian and great social reformer fighting for women's rights.
Josephine Butler (British, 1828-1906). 'The Lieben Geberge, from the Terrace at Bonn', watercolour, inscribed verso 'The Seven Hills seen from Bonn by Mrs. Josephine Butler' 13cm x 20.5cm. PROVENANCE: Given to Jonathan Withers on the occasion of his Christening. May 6th 1961 by his first cousin, twice removed ASG Butler. ASG Butler was Josephine Butler's grandson. Josephine Butler was Jonathan Withers great great great aunt. Josephine Butler was an eminent Victorian and great social reformer fighting for women's rights.
Josephine Butler (British, 1828-1906). 'Ahrweiler on the Rhine by Josephine Butler', inscribed verso, watercolour, 13cm x 20.5cm. PROVENANCE: Given to Jonathan Withers on the occasion of his Christening. May 6th 1961 by his first cousin, twice removed ASG Butler. ASG Butler was Josephine Butler's grandson. Josephine Butler was Jonathan Withers great great great aunt. Josephine Butler was an eminent Victorian and great social reformer fighting for women's rights.
Josephine Butler (British, 1828-1906). 'View Near Bonn' and 'Cologne Cathedral' double-sided, watercolour, inscribed, 13cm x 20.5cm. PROVENANCE: Given to Jonathan Withers on the occasion of his Christening. May 6th 1961 by his first cousin, twice removed ASG Butler. ASG Butler was Josephine Butler's grandson. Josephine Butler was Jonathan Withers great great great aunt. Josephine Butler was an eminent Victorian and great social reformer fighting for women's rights.
Josephine Butler (British, 1828-1906). 'From the front door at Milfield Hill, the Greys' home in Northumberland, Cheviots in the distance', by Josephine Butler, inscribed verso, 13cm x 20.5cm. PROVENANCE: Given to Jonathan Withers on the occasion of his Christening. May 6th 1961 by his first cousin, twice removed ASG Butler. ASG Butler was Josephine Butler's grandson. Josephine Butler was Jonathan Withers great great great aunt. Josephine Butler was an eminent Victorian and great social reformer fighting for women's rights.
Josephine Butler (British, 1828-1906). 'A Puzzle Monkey pine tree in Edith Leopold's garden Milside Genoa', 'by Josephine Butler', watercolour, inscribed verso, 13cm x 20.5cm. PROVENANCE: Given to Jonathan Withers on the occasion of his Christening. May 6th 1961 by his first cousin, twice removed ASG Butler. ASG Butler was Josephine Butler's grandson. Josephine Butler was Jonathan Withers great great great aunt. Josephine Butler was an eminent Victorian and great social reformer fighting for women's rights.
Josephine Butler (British, 1828-1906). 'The Rhine looking towards Bonn' 'by Josephine Butler', inscribed verso, watercolour, 13cm x 20.5cm. PROVENANCE: Given to Jonathan Withers on the occasion of his Christening. May 6th 1961 by his first cousin, twice removed ASG Butler. ASG Butler was Josephine Butler's grandson. Josephine Butler was Jonathan Withers great great great aunt. Josephine Butler was an eminent Victorian and great social reformer fighting for women's rights. Condition Report: Nibbles and creases to corners. Some discolouration particularly around the edges. Light foxing and fading.
A large collection of Judaica items, comprising: Four Israeli lithographic advertising posters for coffee, fruit juice etc. Largest 41.5 cm. x 32 cm. An Israeli poster advertising the Soldiers' Raffle, 1962, with ten cars to be won, artist R. Dayan. 39.5x70cm together with Four children's drinks related posters & four others, a group of 19 modern postcards, reproduced from old photos of the Lodz Ghetto in WWII, includes Jewish Ghetto Police, Jewish types, officials of the Judenrat and German police together with Seven press photos of Jews in Eastern Europe, in ghettos, German occupation etc. (26)- Nine vintage French advertising cards for oil, mustard, soap, cake-mix etc. and eight German examples, Fromms Gummi-Schwamme, Tenaer Glas and Schnellglanz Ofenol Together with two issues of French magazine “Le Rire”, a “journal humoristique” with coloured covers, 28 December 1895 and 14 November 1896; also a French news sheet “L’Eclipse” no. 378 , 23 January, 1876, with coloured cover (12)- A Hebrew language advertising print for Mickey Mouse, 24 cm x 17.5 cm. Together with A group of eleven Israeli prints aimed at children 19 cm x 22.5 cm. (12)- Judaica:- two German 3-D effect chromolithographic Jewish New Year cards, early 20th century, 27 cm. and 25 cm. wide, one depicting Aaron the High Priest standing on a boat of flowers, the other depicting a rabbi and two congregants in top hats and prayer shawls on a platform reading a scroll under the canopy of a coach decked in flowers. First one in good overall condition, second one with minor losses to corners of base and ends of coach. Together with thirty-seven German lithographic cut-outs, circa 1906, depicting religious life, festivals and New Year greetings, also one depicting a windmill in rural setting. (40)- Judaica. A collection of eight children's posters for JNF (Jewish National Fund) approx. 33 cm x 47 cm.- Israel interest:-A group of 17 small coloured prints of Old Testament characters by Ze'ev Raban of the Bezalel School, ,15 cm. x 10.9 cm. and 3 posters for Israeli Independence Day, 35 cm. x 25 cm. depicting Israeli army cap badges, medal ribbons and portraits of Theodore Herzl and Israeli political and military leaders including Golda Meir and Moshe Dayan. (20). Small tear on left edge of one poster otherwise in overall good condition. Two Books. One an anti-Israel selection of cartoons published in Tel-Aviv July 1967. Second called ''Israel 1951-1952''. Together with an Israeli poster for the Synagogue ‘Hagra’ at 42 Hayarkon St., Tel Aviv, circa 1960, 33 cm. x 25 cm. (23)
An 18th century,(first period) Worcester porcelain fluted cream jug and cover, painted with the "Jabberwocky" pattern. With flower finial and entwined vine handle. Bearing an underglaze blue fretted square mark to base. 14 cm high. Together with a Barr, Worcester fluted cream jug with blue and gilt bands. Bearing impressed "B" to the base.10.4 cm high.Qty: 2Condition report: The "Jabberwoky" jug: Some chips to the petals of the flower finial other than this, no apparent major defectsThe "Barr" jug: No apparent major defects.
Martin Gale RHA (b.1949)Hardlands (2001)Triptych, oil on canvas, 183.5 x 106.5cm (72¼ x 42'')Signed; also signed and dated verso on each panelEnglish born Martin Gale moved to Ireland as a child and studied in Dublin at the National College of Art. His first solo show came just two years after he graduated and was held at the Neptune Gallery in Dublin in 1975. In 1980 Gale represented Ireland at the XI Biennale de Paris, Nice, Lisbon, Finland, and had a solo show at the Taylor Galleries where he has continually exhibited since. Gale was elected a member of the RHA in 1996 and is a member of Aosdána. A major retrospective of his work was held at the Academy's Gallagher Gallery in 2004, moving to the Ulster Museum in Belfast the following year. His landscapes are a unique take on the tradition of photo-realism, and most often it is the contemporary figures occupying them that are the true subject of his work.
William Crozier HRHA (1930-2011)Kelly's Mound (1964)Oil on canvas, 76 x 75cm (30 x 29½'')Exhibited: London, Arthur Tooth & Sons, 'Recent Paintings', September 1964, no.23, illustrated in colour on front cover of catalogue.William Crozier was born in Glasgow in 1930, son to a Co Antrim father and a Scottish mother. He was brought up in Troon, Ayrshire but returned to Glasgow to study at the school of art there from 1949 to 1953. He had his first exhibition in 1951 at the Carnegie Library and on graduating travelled to Paris for a time before moving to London. During the mid 1950s Crozier, not a stranger to Ireland, spent time living in Dublin and formed friendships with many of the literary set of the time. Back in London his reputation grew and by 1957 he had exhibited at the Parton and Drian galleries and at the Institute of Contemporary Art. He recalled his early London days: "I was on easy speaking terms with William Scott .... Eduardo Paolozzi and William Turnbull, simply because I was exhibiting, and took part in the social art world of the time. The social life of artists and writers in the London of the 1950s centred on the clubs and pubs of Hampstead, Chelsea and Soho. In a long day it was possible to meet almost everyone in the art world, and easy friendships were established and abandoned. My relations with Francis Bacon were typical. We inhabited the same small world, spoke frequently, were never close friends and moved in different circles." During this period he also held exhibitions in Milan, Paris, London and Washington. William Laffan writing in 2010 noted that 'By 1961 Crozier was widely seen as one of the most exciting artists in London. This position was acknowledged in that year by the French critic Michel Ragon who described him as "one of the best young painters beyond the channel". Laffan noted that 'For Crozier, whether in Essex, Crystal Palace, Wiltshire - or indeed West Cork - landscape has only ever been a springboard. Nature observed provides the catalyst, or even excuse, for an increasingly wide vocabulary of abstract gestures and marks.' The artist himself articulated "Landscape was a vehicle through which I could say anything. I could do it in any amount of colour, turn it upside down, make it have moods, make it carry different meaning. Landscape is not the subject; it is the vehicle through which I can express intangible things. Things which have no narrative. Loss, memory - all can be done through the language of landscape. The landscape almost takes no part, as if an actor."By 1963 Crozier had moved to Spain where he shared a house with Anthony Cronin near Malaga. He found the experience of living and working in Picasso's birthplace profound and during his stay he delighted in the Andalusian culture, the light and atmosphere. Kelly's Mound was painted the following year and exhibited at Tooth's in 1964, illustrating the cover of the exhibition catalogue. Crozier's work from this Spanish period and beyond was described thus by William Laffan - 'The group of paintings produced in, and inspired by, Spain is perhaps the most glorious and radiant in the artist's entire oeuvre - though not without a certain menace lurking in the background.'We acknowledge William Laffan whose writings formed the basis of this note.
John Luke RUA (1906-1975)Landscape Composition (1933)Pencil on tracing paper, 37 x 72cm (14½ x 28")In 1933 John and Roberta Hewitt commissioned Luke's first painting in tempera, known as Landscape or County Down. It was also his first imagined landscape. This is a scale study for the work, which is illustrated in Hewitt's monograph on Luke.
Patrick Collins HRHA (1910-1994)West of Ireland Fishing VillageOil on board, 68 x 83cm (26¾ x 32¾'')SignedThe highly subjective nature of art can create somewhat of a minefield for critics but no one could disagree with Brian Fallon when he said 'A painting by Patrick Collins is immediately recognisable, modernist in sensibility and wholly original.'Throughout his career, Collins' output was suffused with images of western Ireland, however he did not succumb to the usual portrayal of white-washed cottages persevering in romantic landscapes. Born in Sligo, Collins felt an emotional connection to the land and he wished to convey its meaning and unique personality to his viewers. He believed that each place held a deep history, layered in the archaeology of the ground and this stratification is carried through to his paintings. By building up each work gradually with repeated layers of translucent paints, Collins created a palimpsest of moody tones, each coating offering an insight into the complexity of the overall image.Collins persuades the viewer to actively engage with his work by abstracting the subject matter. With the provision of a title, we are told what to look for at a base level and our mind begins the puzzle of sorting through shape and colour to formulate a realistic image. In 'West of Ireland Fishing Village', the smudge of white to the left suddenly becomes a seagull in flight, the brown beyond, the wind scraped coastline. The houses emerge through the mist, the obscurity of their structure reminding us that they are but one layer in this eternal vista.The uneven painted border, an effect often implemented in Collins' work, ensures that the scene will not be encroached upon by the addition of a frame. The roughly hewn edges cannot be straightened and thus stand as a testament to the abrasive nature of the wind and water.Patrick Collins was lauded during his lifetime and he was viewed as a pioneer for Irish art. In 1980, Collins was elected to the Honorary Council of the Royal Hibernian Academy, in 1981 he was elected to Aosdána and in 1987 he received the highest accolade when he was granted the title of Saoi, the first fine artist to join this exclusive association. Now, nearly thirty years after his death, Collins' work continues to captivate audiences, his battle to encapsulate history rendering each piece timeless.Helena Carlyle, 2021
Sean McSweeney HRHA (1935-2018)Pool Áth na Beitheoige (1998)Oil on canvas, 91 x 122cm (35¾ x 48'')Signed and inscribed on stretcher verso, Opus No.98-189Exhibited: Taylor Galleries, Dublin, 'Bogland Shoreline Sligo', October 1998, catalogue no.49.A sense of place is very important to Sean McSweeney's process, his compositions are focused around one small area in Sligo where he has lived from the 1980s. By confining himself to this particular area it allows him to get to know the landscape and its environment intimately. His work is characterised by an enduring act of trying to extract the beautiful from the more mundane aspects of the natural environment. On finding the bog pools in Sligo he remarked "They gave me an opening back into painting, a private space, and another world." (True West, Interview with Brian McAvera, Irish Arts Review, Autumn 2012)While working within the tradition of Irish landscape painting, McSweeney's art has its own unique character defined by their abstract style, the bog pools reduced to rectangular shapes surrounded by intruding grasses and plants. The coastline is a horizontal line separating land, sky and sea. While often painting on a small scale, this present work is much larger and more impressive. With the bogland that has been cut away you are looking at framed pools, the light centre with sky and flowers reflected in it, surrounded by the dense green undergrowth.In speaking about his relationship to the landscape he remarked "in the early days, certainly it was memory... a romantic view. That all changed when I went to live in Wicklow. Living in the landscape - living through tough winters was a great challenge... It hardened things up. I got a lot more structure in my work." (True West, Interview with Brian McAvera, Irish Arts Review, Autumn 2012) This is reflected in how he breaks down the canvas first with colour, using rigorous brushwork often aided by a palette knife. Often, he paints the entire canvas one colour and then introduces another into to it to see what might emerge, an organic process that captures the natural rhythms of the landscape and changing light. Niamh Corcoran, 2021
James Mahony ARHA (1810-1879)The Official Opening of 'The National Exhibition of the Arts, Manufactures and Products of Ireland' Cork, 1852Watercolour, 74 x 66cm (29 x 26'')This large watercolour by James Mahony depicts the building designed by John Benson for the "National Exhibition of the Arts, Manufactures, and Products of Ireland" held in Cork in 1852. The exhibition took place on the Corn Exchange site on Albert Quay-where City Hall now stands-and was opened by the Lord Lieutenant, Archibald Montgomerie, 13th Earl of Elginton, on June 10th of that year. The watercolour depicts a long line of eminent citizens, waiting to be introduced to the Lord Lieutenant, who stands on a carpeted dais in the foreground. A tipstaff announces the names of those who are to ascend the steps to the dais; they appear to be mainly men, while the audience looking on from both sides is composed mainly of women. First in line is a man, hat in hand, wearing a blue sash and medallion. Galleries on either side of the hall are also packed with spectators. Benson was a brilliant engineer and architect, who used innovative building methods; the roof of the Cork Exhibition hall, with its four transepts, was constructed of laminated wood trusses, bent into semi-circles, and linked together to form a strong but light structure. Large skylights admitted light into the building. The same system was used in his designs for other Cork buildings, including the Butter Market, the Firkin Crane and the English Market. Following on from his success in Cork, Benson was engaged to design the buildings for the Dublin International Exhibition in 1853. Unfortunately, being constructed mainly of wood, over the years all of Benson's Cork buildings have been destroyed, or have lost their original truss roofs, as a result of fire. When the Cork National Exhibition ended, the building was dismantled and sold to the trustees of the Royal Cork Institution. Three years later it was re-erected, on a site beside the Cork School of Art (now the Crawford Art Gallery). Titled "The Atheneaeum", it was inaugurated by the Lord Lieutenant, George Frederick Howard, Earl of Carlisle, and over the following decades was used mainly for lectures, exhibitions and performances. Re-named the Cork Opera House in 1877, it hosted many theatrical and opera performances before being destroyed by fire in 1955. Mahony's watercolour depicts the first inauguration of the building in 1852. He depicts an ornate but functional interior, one that combined conventional architectural elements, including Corinthian columns, with proto-Modernist construction methods. When the building was re-erected as the Athenaeum three years later, it was a simpler structure, and by the time it was remodelled as the Cork Opera House in the later nineteenth century, it had lost most of its original embellishments. A contemporary wood engraving by Mahony, published in The Illustrated London News, shows another transept in the Cork Exhibition complex, the Fine Arts Hall. Born in Cork in or around 1810, James Mahony specialised in views of historical events and paintings with religious themes. He first exhibited in the 1833 exhibition of the "Cork Society for Promoting the Fine Arts" and during the following years travelled extensively on the Continent, mainly in France and Italy. Returning to Ireland, he settled at the home of his father, a carpenter, at 34 Nile Street. The date of his return has not been established precisely; Strickland gives it as 1841, but in 1839 Mahony painted a large watercolour of the blessing of the Church of St. Mary's on Pope's Quay, a painting now in the Great Hunger Museum in Quinnipiac, Connecticut. During those years Mahony also set about founding, along with fellow artist Samuel Skillen, a Cork Art Union. The concept of an Art Union, where works of art from an annual exhibition were distributed by lottery amongst a group of subscribers, had already been put into operation in London and in other cities. An Art Union in Dublin had been founded two years previously, and there was also one in Belfast. Each member paid an annual subscription of one pound. This gave the subscriber (and up to three friends) free admission to the exhibition, as well as participation in the lottery of paintings. In the first year of the Union's operation in Cork, it was reckoned that more than £100 would be spent on the purchase of paintings, to be distributed amongst the subscribers. The first exhibition was held in September 1841 at Marsh's Rooms on the South Mall, and in spite of the bad weather was an immediate success, with Mahony and Skillen both amongst the exhibitors.Mahony showed again in 1844, submitting two paintings to the Cork Art Union Exhibition, Strada di son Giardino a Subraio, and Nella Chiesa di San Maria della Fiore a Genzano vicino di Roma, both priced at four pounds and four shillings. In November 1846, his view of the Fr. Matthew Memorial Tower at Glanmire was presented to Queen Victoria. Around this time, he resumed his travels, spending a number of years in Spain, before returning to Ireland. In 1852, as well as depicting the inauguration of the Cork National Exhibition, he showed several watercolours in the Fine Arts section, including The City of Cork from the river near the Custom House and Queens College, Cork, along with views of Venice and Rome. Settling in Dublin four years later, he exhibited at the RHA, and was also made an associate of the Academy. A large panoramic view of Dublin, in the National Gallery of Ireland, shows his talents in rendering architectural detail. Also in the NGI is his watercolour depicting the visit by Queen Victoria and Prince Albert to the 1853 Dublin Exhibition. In 1859 Mahony moved to London, where he worked as an illustrator, until his death in 1879. While he produced paintings of notable building, and civic and cultural events, Mahony is best known nowadays for his graphic images of the effects of famine in Co. Cork, which were published in The Illustrated London News in the 1840's. These harrowing images influenced public opinion, and helped changed the British government's official stance of indifference to the Great Famine. James Mahony is not to be confused with a later Cork artist, James Mahoney, who also painted in watercolour. (See Julian Campbell Irish Arts Review Vol 28, No. 2 (2011) p. 98]Peter Murray
Patrick Swift (1927-1983)Garden Study (1950)Oil on canvas, 75 x 100cm (29½ x 39¼'')SignedExhibited: Dublin, 'Irish Exhibition of Living Art', 1951, catalogue no.58.Patrick Swift made his exhibition debut as a professional artist at the Irish Exhibition of Living Art in 1950. Critic Edward Sheehy named him as the most promising newcomer - with reservations, chiefly relating to his limited technical abilities. Louis le Brocquy and others had established the IELA in 1943, as response to the perceived, insular conservatism of the RHA. Swift gravitated naturally towards it.Originally from Dolphin's Barn, Swift initially worked for the Dublin Gas Company, studying for two years as a night student at NCAD. By 1950, he regarded himself as a practicing artist and was a resident of Dublin's literary and artistic quarter, Baggotonia, living first in a flat in Baggot St, then in Hatch St, with an American Trinity student and aspiring poet, Claire McAllister. They spent the summer of 1950 in Paris where he studied life drawing and painting.John Ryan (whose sister Oonagh, Swift fell in love with and married), Patrick Kavanagh, Anthony Cronin, Nano Reid, Patrick Pye and Nevill Johnston were friends and part of their circle. Swift wrote as well as painted and was active in literary life. Lucian Freud, in pursuit of Caroling Blackwood, visited and painted, and Swift stayed with him in London in return. There has been much discussion of the flow of influence between them. It seems fair to say that Freud was a significant influence on Swift, but at the same time, he was very much his own man. He had his first solo show with Victor Waddington in 1952.It has been remarked that Swift's early work is characterized by an objective, even cold realism, not that distant from Freud's approach at the time. This fine garden study with its carefully limited palette - gardens and plants remained a source of intense interest throughout his working life - does have a certain analytical quality. It is closely observed but also boldly stylised, in the Cubist mode favoured by several leading modernist painters. Swift cleverly uses Cubism as a device to effectively open up and layer the spaces, leading the viewer into the garden rather than offering a single perspective view.In 1952, when his relationship with Oonagh began, he began the process of moving away from Ireland. After time in London, when he and Oonagh spent a summer in the Algarve in 1962 they realized that they would like to live there, and set about doing so, eventually building a house and setting up a full-scale, working pottery. While Swift painted all the while, he had little interest in exhibiting his work; he was even reluctant to do so. A steady stream of visitors ensured continued contact with Ireland, but within quite a narrow circle, and his artistic profile became diminished. In fact he was relatively unknown as a painter in Ireland until, in 1983, some ten years after his death, a substantial retrospective at the Irish Museum of Modern Art reintroduced him to the wider art public and, more, established him as one of the leading Irish artists of his time
Caroline Scally (1886-1973)The Palace at VersaillesOil on canvas, 59 x 73cm (23¼ x 28¾'')Provenance: With The Frederick Gallery, Dublin, March 2005, catalogue no.3.Exhibited: The Frederick Gallery, Dublin, Caroline Scally Retrospective, March 2005, cat. no. 3.Caroline Scally was born on 29th October 1886 at 7 Corrig Avenue, Dun Laoghaire, Co.Dublin.Her father Robert Stein was an engineer, and in 1889 the family moved to Blackrock, where Caroline was educated at the Dominican Convert, Sion Hill. After a period studying at the English Institute at Nymphenburg, Germany she returned to Dublin and enrolled as a student at the Royal Hibernian Academy Schools and at the Metropolitan School of Art where, amongst her fellow students were James Sinton Sleator and Sean Keating.Dr SB Kennedy, writing about the artist in an essay for the 2005 Frederick Gallery Retrospective exhibition catalogue, noted that 'As a student in Dublin in the early 1900s Scally encountered a strict academic approach to picture making, notably at the Metropolitan School where her teachers included the celebrated William Orpen, although his influence on her was not as forceful as it was on Sleator, Keating and other of her contemporaries.'Having won a Taylor Prize in 1911 and a scholarship she set off to the Continent and immersed herself in the art of the great museums and galleries. The present work, The Palace of Versailles was painted at this time and as Dr Kennedy notes 'indicated an early interest in landscape and architectural subjects, themes that remained with her throughout her career.'By 1913 she was back in Ireland and the following year she married Gerald Scally, a Dublin businessman and proceeded to have five children together. Domestic life, inevitably for the time, interfered with her output and exhibiting became more sporadic. She had her first one-woman show at the Dublin Painters Gallery in 1930 and by 1938 she returned to the Academy and continued exhibiting there until the late 1950s. After a number of decades living in the north of the county the Scally's settled in number 81 Upper Leeson Street, Dublin, and as Dr Kennedy writes ... 'These movements are reflected in the titles of many of her paintings and thus serve as a guide to dating her works.''....... By 1930 she had adopted a more modernist approach, placing emphasis on a lyrical compositional technique with at times an almost Fauvist use of bright colours. In this development she was at one with many exhibitors at the Dublin Painter's Society and was part of a small, but influential coterie of Irish Women artists - Norah McGuinness, Nano Reid, Harriet Kirkwood, Frances Kelly, Joan Jameson, Sylvia Cooke Collis, Elizabeth Rivers come to mind - who had been influenced by recent French painting and had adopted a similarly modernist style placing emphasis on the expression of personal feelings rather than on more philosophical or syntactical issues.'That Scally had aligned herself with the avant-garde painters of the time is borne out by her participation in the first Irish Exhibition of Living Art, held during September and October 1943. This was one of the two or three seminal art exhibitions held in Ireland during the 20th century and arguably the most consequential exhibition held during the first half of the century.'Looking at her work, besides her dexterity with paint, her lyricism, her sense of colour and her eye for the often-quirky details of an architectural piece, it is the sheer pleasure that she obviously derived from painting that we respond to with such delight.'We would like to acknowledge, with thanks, the writings of Dr SB Kennedy and to David Britton for his assistance with this note.
Harry Clarke RHA (1889-1931)Bluebeard's Last WifeMiniature stained glass panel in an inlaid mahogany, walnut and tortoishell cabinet, made by Dublin cabinet maker James Hicks28 x 14.5cm (11 x 5¾)Signed and dated 1921.Backlit by full -size LED light panelProvenance: Purchased at the 1921 Arts & Crafts Society, cat. no. 292 Exhibition by Albert Wood, a barrister, friend and patron of Clarkes for £20 and he had it mounted in the Hick's cabinet. Thence by descent and sold in these rooms, 9/12/1998, cat. no. 62; also 5/12/2011, cat no.113 where purchased by the current owner. Exhibited: Arts & Crafts Society of Ireland 6th Annual Exhibition 1921, cat. no. 292;Exposition d'Art Irlandais, Galeries Barbazanges, Paris 1922 cat. no. 258; Harry Clarke Retrospective Exhibition, The Douglas Hyde Gallery, Trinity College Dublin, November-December 1979, cat. no. 167; The Arts & Crafts Movement in Europe and America, 1800-1920, Los Angeles County Museum of Art, December 2004-April 2005; this major exhibition toured to Delaware Art Museum from June 2005-September 2005 and The Cleveland Museum of Art from October 2005-January 2006. Clarke's piece was one of only a handful of Irish works included in the exhibition; A Celebration of Irish Art & Modernism, The Ava Gallery, Clandeboye, Co. Down, June- September 2011, cat. No. 4; The Arts & Crafts Movement - Making it Irish, McMullen Museum of Art, Boston College, February - June 2016, cat. no. 160. Literature: Nicola Gordon Bowe, The Life and Works of Harry Clarke 1989, fig 120, p.136; Nicola Gordon Bowe and Elizabeth Cumming The Arts and Crafts Movements in Dublin and Edinburgh 1885 - 1925 cat. no. 30, p.103; Nicola Gordon-Bowe, Harry Clarke, cat. no. 167 p.110; Wendy Kaplan, The Arts & Crafts Movement in Europe and America; Design for the Modern World, Thames and Hudson, 2005, p296, full page colour illustration p.294; Lucy Costigan and Michael Cullen Strangest Genius - the Stained Glass of Harry Clarke 2010, full page illustration p.291; Vera Kreilkamp, The Arts & Crafts Movement - Making it Irish 2016 cat. no. 160, illus. p.288 Eleanor Flegg writing a preview of the present lot in The Irish Independent (26/2/2021) explained the story thus -'Bluebeard's last wife should have known better. He already had been married to several wives and nobody knew what had become of them. That was her first warning. Then he told her not to open the door to his secret chamber, while allowing her access to the key. Her curiousity would not be denied.Finally, having discovered what was in the chamber (dead wives), she orchestrated his downfall and became mistress of all his estate. Bluebeard was a nasty piece of work, but his last wife was also a woman to be reckoned with. She was the one that got away.' A masterpiece of the Arts & Crafts movement, this is one of three extant stained glass panels made by Clarke to illustrate one of his favourite scenes from literature and be mounted in a cabinet purpose-made by the renowned Dublin furniture maker, James Hicks. The concept of using two single panels, intricately worked in a microscopically demanding technique with such imaginative skill, and then registered to provide a magical scene of astounding intricacy, and in this case, gruesome foreboding, was unique to Clarke. Apart from this time factor, such was the risk of breakage that he only made such tiny autonomous panels between 1915 and 1923, although he had been incorporating narrative detail into full-scale windows ever since his well-known Honan Chapel series in Cork (1915-1917). It seems likely that this panel was made for inclusion in an anthology which Harraps, the London publishers, planned to illustrate using Clarkes narrative stained glass panels beside his better known watercolour and pen and ink work. The idea was scrapped in favour of twelve new colour and twelve new black and white plates, published as The Years at the Spring in 1920, and, two years later, the same number of illustrations (also on paper) for a uniform edition of The Fairy Tales of Perrault. When the panel was exhibited at the 6th exhibition of the Arts and Crafts Society of Ireland in Dublin in 1921, it was bought by Albert Wood, a barrister and friend and patron of Clarkes, who had it mounted by Hicks, just as his friend Thomas Bodkin had done with his Song of the Mad Prince panel in 1917, and another friend, Sir Robert Woods, would do with his Bottom and Titania panel in 1922. Influenced by the exotic productions of Diaghilevs Ballets Russes then in such vogue, it depicts the sadistic king, scimitar in hand, lying in wait for his innocent bride as she dances unsuspectingly over a garlanded bridge. Her fate if suggested by the gleaming blade he brandishes, the bloody orb below her darkened by ominous silhouettes, the wildly painted whorls in the dramatic sky and two white birds in the foreground vainly trying to escape. Dr Nicola Gordon-Bowe (1948 - 2018)James Hicks (1886 - 1936), is arguably Irelands best known cabinet maker. A virtuoso craftsman, he was born into the furniture making business, his father, Patrick being a master chair-maker. James trained in the cabinet making workshops of Tottenham Court Road in London before returning to Dublin in 1894 to set up his own business on Lower Pembroke Street. The firm rapidly became the leading cabinet-making firm in the country. Describing himself as Cabinet Manufacturer, Collector and Restorer of Chippendale, Adam and Sheraton Furniture, he included among his clients members of the British and Swedish Royal families as well as the aristocracy. In 1928 Hicks won the commission from President Cosgrave to fit out the Dail and Senate chambers in Leinster House and work was also done in the Four Courts and the National Library of Ireland. Aras an Uachtaráin, official home of the President of Ireland, also has a number of important pieces by Hicks including a set of magnificent dining chairs in the Chippendale style.
Frederick E. McWilliam HRUA RA (1909-1992)Undercover Girl 1978Bronze, 17.5 x 25 x 19cm (6¾ x 9¾ x 7½'')Signed with initialsEdition 1/5Provenance: Ashford Hall, Ashford in the Water, Derbyshire; Waddington Galleries, London, McWilliam's exhibition 1979; Sworders Fine Art, Stanstead Mountfitchet, 'The Country House Sale', September 2009, where purchased by current owner.Literature: McWilliam's notebook, work is numbered 78.07, ie the 7th work of 1978. When he embarked on his series of 'Legs' 1977 - 1981, 'he began the practice of making small accurate sketches of each work beside his notebook entry, which was not only for his won identification, but for the foundries, in this case the Galizia Foundry'. 'The Sculpture of F.E.McWilliam' Ferran & Holman, Lund Humphries, 2012, p. 85.Exhibited Taylor 1979; the Arts Councils of Northern Ireland and the Arts Council of the Republic of Ireland, 1981, cat. no. 151; exhibition tour, Ulster Museum, Belfast, April - May; Douglas Hyde Gallery, Dublin, May - June; Crawford Municipal Gallery, Cork, July - August. Tate Gallery, 1989, cat. no. 66, illus. p. 64.'Women of Belfast' and 'Woman in a Bomb Blast' were a highly charged response by McWilliam to the devastating bombs in Belfast and in particular the bombing of the Abercorn restaurant in 1971. This series was followed by the 'Banners' which again focused on the Northern Ireland problems, a series instigated by the Peace People, mainly women, including his long time friend Sheelagh Flanagan, myself and many others, who marched for peace. After five years of producing work, which were McWilliam's reaction to the 'troubles' in his country of birth, McWilliam, turned, for respite, to the subject matter he loved most, the beauty and form of female legs. The walls of his studio in Holland Park had many photographs of female forms, especially legs, some from Selfridges' advertisements for ladies' tights. The capriciousness of McWilliam's imagination combined with his modeling skill, were used in his series of 'Legs' from 1978 until 1981, ending with Ms Orissa. The subject of women's legs as a means to create movement, beauty and intrigue, heightened by his observation of Indian carvings, especially in the temples of Orissa, which he studied first hand, informed him that the entire human form did not need to be present to give meaning to the subject. His return to the Surrealist idea of incomplete fragments and his use of legs, to convey this, as in 'Undercover Girl' provides femininity and sensuality but with an underlying strength and stoicism. The top of 'Undercover Girl' is hidden under a partially opened umbrella shape or a form developed from his Banner series, 1975/76, thereby conveying the intrigue and secrecy of undercover agents.His ability to convey this, in every foot movement and toe position, portrays his admiration for the female form. His friendship with the Dublin born ballerina, Ninette de Valois (1898 - 2001) founder of the Royal Ballet, whose portrait he carved in 1963, influenced him greatly, leading to his love of ballet and an appreciation of such an exacting art form in which arm and leg movement were paramount. Feet were important to McWilliam as a means to express emotions whether terror in 'Women of Belfast' which to him were - 'the women as victims of man's stupidity' or the mystery, strength and fortitude imbued in 'Undercover Girl'.Denise Ferran, February 2021
Katherine MacCausland (1859-1928)Serving Dinner Oil on canvas, 101.5 x 86.5cm, (40 x 34'') Signed and dated 1890Provenance: Sold, these rooms, Important Irish Art Sale, 30th May 2008, lot 100, where purchased by the present owner.During the late 19th and early 20th centuries, the artistic schools and colonies of France enticed painters, writers and sculptors from throughout the western hemisphere, all on a quest for cultural stimulation. Among them was Katherine MacCausland, a contemporary and friend of John Lavery, Robert Louis Stevenson, John Singer Sargent, Frank O'Meara and many others. Moving to Paris first, MacCausland studied for a period at the Academie Julian before moving outside the city to settle at Grez-sur-Loing. Her exact date of arrival at Grez is not known but photographic evidence puts her in the colony at the same time as Robert Louis Stevenson, who left in 1883, just as John Lavery was arriving. MacCausland remained here for a period of years, settling into the community and buying a house. She was a fond figure and became known as 'Miss Mac' by the townspeople. In the mid-1890s, MacCausland moved into Brittany, stopping first in Pont-Aven before making Concarneau her final destination in 1912. She lived here until her death in 1930.By this timeline, it can be assumed that the present lot was painted in Grez-sur-Loing, however, the elderly woman serving the meal bears a striking resemblance to a well-known innkeeper from Pont-Aven. Marie-Jeanne Gloanec ran the Pension Gloanec, which was a small auberge famous amongst émigré artists. Gloanec was a proficient cook and she encouraged lively discussions and debates which fuelled artistic imaginations. Birge Harrison wrote of her '...dear, wizened, motherly woman. She was an excellent cook and took great pleasure in the company of her artists'. Perhaps this intimate scene was devised on a trip to Pont-Aven and pays tribute to a woman who cared for 'her artists' as a mother would her children. With the faces of the other figures being in shadow, the woman's facial expression is the emotional anchor for this piece. The downturned mouth suggests a weariness that is further emphasised by the slump of her shoulders. Her exhaustion exudes throughout the painting, blurring lines and softening edges until it rests over us with the sense of tired contentment that can only be brought about by the end of a hard day's work. The man in the background slips from the shadows, seemingly happy in his own solitude, while the children to the front appear subdued with the impending comfort of food.A skilled artist, MacCausland's work is now all too rare, however she is rightly honoured in Grez-sur-Loing where her painting, La Mère Moreau, still hangs in the town hall.Our thanks to Mary Stratton Ryan for all her research.
Marilyn Cole (b.1949) Playboy magazine's January 1972 Playmate of the Month. She was the magazine's first fullfrontal nude centrefold. She also became 1973's Playmate of the Year the only Briton to hold that title. Cole started out as a Bunny at London's Playboy Club. She was romantically pursued by both Hugh Hefner and Playboy Enterprises executive Victor Lownes. Cole did followup pictorials in the April, 1984 and April, 1989 issues of "Playboy." Cole dated singer Bryan Ferry of the British art rock band Roxy Music for a while in the 1970's and appears on the cover of the group's 1973 album "Stranded." Marilyn married Victor Lownes in 1984 and remained married to him until his death in January, 2017. A dedicated signature on the reverse of a Motcombs Belgravia Restaurant colour postcard, approximately 6 inches x 4 inches. This autograph was obtained at Motcombs Restaurant in London's West End during the early to mid1980s and Marilyn Cole has written "Watch Out for June Issue" to the side of her autograph. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Maureen O'Hara (1920 2015) Irish Hollywood film actress, her first major role was in the 1939 Alfred Hitchcock film Jamaica Inn and was known for her on screen chemistry with John Wayne with whom she made five films. A dedicated signature on a black and white sepia toned photograph, approximately 7 inches x 5 inches. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Arthur Askey (1900 1982) English music hall, radio, film and TV comedian. Arthur Bowden Askey CBE served in the armed forces during the First World War and slowly started making a name for himself in the music halls. His big break was in 1938 with a BBC radio show called Band Waggon and his career really took off making numerous films, TV and radio shows over the coming decades. He was known for his catchphrases including "Hello Playmates", "I thank you" (pronounced AyThangYaw) and "Before your very eyes". A dedicated signature on a black and white photograph, approximately 5.5 inches x 3.5 inches. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Arthur Prince and Jim (1881 1946) Welsh music hall ventriloquist. Arthur Prince made his London debut with his ventriloquist doll Jim in 1902 and went on to appear at all leading music halls in the country. He performed for King George V at the first Royal Command Performance in 1912 and then toured the world with Jim performing his comedy act, Naval Occasions, for which he wore a British naval officer's uniform and Jim was dressed as a jolly British Tar (sailor). A black and white sepia toned vintage photograph showing Arthur and Jim in naval uniforms signed "Arthur Prince & Jim", approximately 5.5 inches x 3.5 inches. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Wilfred Pickles (1904 1978) English actor and radio presenter. During World War Two Wilfred Pickles OBE was the first newsreader to speak in a regional accent rather than the usual Received Pronunciation in an attempt to make it more difficult for the Nazis to impersonate BBC broadcasters. Pickles was from Yorkshire and wished his listeners "Good Neet". After the war he was the host of the BBC radio show Have A Go which ran from 1946 to 1967 and at its peak attracted 20 million listeners and 5,000 letters a week. A signed black and white vintage photograph, approximately 5 inches x 3.5 inches. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
RARE An unusual piece of Apollo Theatre 1930s history with 24 related signatories. This is a souvenir book of the 1935 Silver Jubilee presented with the compliments of Easterns Ltd. Hand written on the inside title page is "With Happy Memories of the Apollo" and 24 different autographs. The one name that was identified and researched for this auction catalogue (due to time constraints) is Diana King (1918 1986) who was an English actress who had a career on British television from 1939 to 1986. She was sometimes credited as Diane King. She made her first TV appearance in Little Ladyship in 1939. She continued to appear on television and in films throughout the 1940s and 1950s. From the 1960s onwards she appeared in numerous shows including The Avengers, The Benny Hill Show, Dixon of Dock Green, Z Cars, Dads Army, Fawlty Towers, Rising Damp and Terry and June. However, she is probably best remembered for her role as Mrs Peacock, the long suffering first wife of Captain Peacock, in Are You being Served? This is an intriguing book and contains 23 other autographs that it would be very interesting to identify and research. The book is approximately 9.75 inches x 7.5 inches, is 250 pages long and celebrates the Silver Jubilee of George V and Queen Mary in 1935. It is packed full of interesting photographs relating to the King and Queen, their world travels and major events during the first 25 years of their reign which includes the First World War. It is an interesting book in its own right but the addition of 24 autographs from the Apollo Theatre in 1935 must surely make it unique. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Jack Warner (1895 1981) British film and TV actor best known for playing Policeman George Dixon in the long running TV series Dixon of Dock Green between 1955 and 1976. He was a driver for the Royal Flying Corp during the First World War and started performing in the music halls of the 1930s before moving to radio. He made his film debut in The Dummy Talks in 1943 and made a number of films including The Lady Killers (1955) before taking up the role of Dixon of Dock Green for which he will be most remembered. Jack Warner was his stage name, Horace John Waters being his birth name and he was awarded an OBE in 1965. A large black and white vintage photograph featuring six scenes from Dixon of Dock Green with a typed letter on the reverse of the photograph signed by Jack Warner, approximately 8.25 inches x 6.25 inches. The letter is dated 29th June 1959 to Stephen thanking him for his recent letter, agreeing that he will also miss Bob Penny and that filming of the new series of Dixon of Dock green starts on 12th September. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Wayne Fontana (1945 2020) was an English rock and pop singer, best known for the 1965 hit "The Game of Love" with the Mindbenders and "Pamela, Pamela" in 1966. In 1970 he was one of the first performers at the first Glastonbury Festival. A music score for "Pamela, Pamela" which was recorded on Fontana TF770 in 1966 signed on the front page by Wayne Fontana, approximately 11 inches x 8.5 inches. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Paul Jones (b.1942) is an English singer, actor, harmonica player, radio personality and television presenter. He first came to prominence as the lead singer and harmonicist of the successful 1960s group Manfred Mann, with whom he had several Top Ten hit records from 1962 to 1966. He presented The Blues Show on BBC Radio 2 for thirtytwo years, from 1986 to 2018. A vintage Record Song Book showing a photograph of Paul Jones on the front, signed on the front alongside his photograph by Paul Jones of Manfred Mann, approximately 10 inches x 7.5 inches. The Record Song Book has two small holes punched through on left hand side as it has been stored in a lever file at some point in the past, these two small holes do not affect the autograph. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Charley Pride (1934 2020) was an American singer, guitarist, and professional baseball player. His greatest musical success came in the early to mid1970s, when he was the bestselling performer for RCA Records since Elvis Presley, a signed Robert Johnson First Day stamp cover. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Fats Domino (1928 2017) was an American pianist and singersongwriter. One of the pioneers of rock and roll music, Domino sold more than 65 million records. Between 1955 and 1960, he had eleven Top 10 hits, a signed Baltimore Fort Henry Colorano Silk Cachet First Day stamp cover. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
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