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Lot 48
Gibson 1949 ES-5 archtop guitar, serial number A-3420 stamped to the back of the headstock, finished in sunburst with multi ply binding, three P90 pickups, block marker inlaid ebony fingerboard, Grover tuning pegs, with hard case, the guitar measures 108.5cm long The ES-5 was introduced in 1949 to the Gibson line by Ted Macarthy who was trying to enlarge Gibson's line of electric guitars. The ES-5 featured three P90 pickups each with an individual volume and an addition master volume control. The construction of the top, back and sides was laminate, a move to try and combat feedback which plagued many archtop guitars trying to compete with the brass section of the band. This guitar is one of the first ES-5's to be made in the year of the model's introduction which can been spotted by the unbound 'F' holes and is one of only 577 models made in Sunburst between 1949 and 1956. This example has some unusual features portraying its long working life. The headstock inlay is of the split diamond design as used on Les Paul customs and other instruments of the 1950's and the headstock binding is multi ply rather than the single white binding and crown design that is normally seen on ES-5's. The guitar is also fitted with Grover tuners rather than Tulip knob tuners ES-5's were originally realised with. The fingerboard of this example is ebony rather than rosewood. This all indicates that the guitar might have had a new neck fitted however the many correct details such as the multi bound fingerboard, and the black faced rear of the headstock suggest that this could be a factory replacement rather than simply a marriage. The guitar has at one stage been fitted with a Bigsby as seen from a dark spot in the finish where the tremelo unit spring housing would have sat. The tailpiece and control knobs are correct style modern replacements. The bridge and scratchplate are also later replacements. An addition to this guitar is the tone control fitted below the treble 'F' hole, this tone control - a much needed feature for a jazz player - was omitted from the original Gibson design of 1949.
Lot 78
Laura Ingalls aviatrix pioneer signed 1930 US Air Mail cover for the dedication of Muskogee Municipal Airport with local CDS postmark. Rare autograph Laura Ingalls was a highly successful female pilot of the 1930s with several unusual records to her credit. Daughter of a wealthy New York City family, Ingalls learned to fly in 1928. In 1930, she performed 344 consecutive loops, setting a women's record, and she shortly broke her own record with 930. She also did 714 barrel rolls breaking both women's and men's records. Ingalls held more U.S. transcontinental air records during the 1930s than any other woman, including a transcontinental record of 30 hours east to west and 25 hours west to east (round trip New York and Los Angeles), both in 1930. In 1935, she became the first women to fly nonstop from the east coast to the west coast and then immediately broke Amelia Earhart's nonstop transcontinental west-to-east record with a flight from Los Angeles to New York in 13 hours, 34 minutes. Her most well-known flights were made in 1934 and earned her a Harmon Trophy as the most outstanding female aviator of the year. Ingalls flew in a Lockheed Orion from Mexico to Chile, over the Andes Mountains to Rio, to Cuba and then to New York, marking the first flight over the Andes by an American woman, the first solo flight around South America in a landplane, the first flight by a woman from North America to South America, and setting a woman's distance record of 27,358 kilometres (17,000 miles). In 1936, she placed second behind Louise Thaden in the prestigious Bendix Trophy Race. Ingalls' flying career ended with questions about spying for the Germans in World War II, charges she denied. Good Condition. All autographs are genuine hand signed and 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.
Lot 115
M. A. Birrell rare Battle of Britain pilot signed Navy cover. 40th Anniversary of the First Shooting Down of an Enemy Aircraft from Catapult Ship Maplin by a Hurricane Fighter signed RAF cover. Signed G. C. Baldwin, M. A. Birrell. Good Condition. All autographs are genuine hand signed and 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.
Lot 7
William Gladstone Prime Minister signed autograph display UACC dealer 10 x 8 inches photo double 3D mounted in acid free mountboard with an authentic autograph. Overall size 40 x 33 cm 16 x 13 inches, ready for framing. William Ewart Gladstone FRS FSS 29 December 1809 - 19 May 1898) was a British statesman and Liberal Party politician. In a career lasting over sixty years, he served for twelve years as Prime Minister of the United Kingdom, spread over four terms beginning in 1868 and ending in 1894. He also served as Chancellor of the Exchequer four times. Gladstone was born in Liverpool to Scottish parents. He first entered the House of Commons in 1832, beginning his political career as a High Tory, a grouping which became the Conservative Party under Robert Peel in 1834. Gladstone served as a minister in both of Peel's governments, and in 1846 joined the breakaway Peelite faction, which eventually merged into the new Liberal Party in 1859. He was Chancellor under Lord Aberdeen (1852-1855), Lord Palmerston (1859-1865) and Lord Russell (1865-1866). Gladstone's own political doctrine-which emphasised equality of opportunity, free trade, and laissez-faire economic policies-came to be known as Gladstonian liberalism. His popularity amongst the working-class earned him the sobriquet "The People's William". In 1868, Gladstone became Prime Minister for the first time. Many reforms were passed during his first ministry, including the disestablishment of the Church of Ireland and the introduction of secret voting. After electoral defeat in 1874, Gladstone resigned as leader of the Liberal Party; but from 1876 he began a comeback based on opposition to Turkey's reaction to the Bulgarian April Uprising. His Midlothian Campaign of 1879-80 was an early example of many modern political campaigning techniques. After the 1880 general election, Gladstone formed his second ministry (1880-1885), which saw the passage of the Third Reform Act as well as crises in Egypt (culminating in the Fall of Khartoum) and Ireland, where his government passed repressive measures but also improved the legal rights of Irish tenant farmers. Back in office in early 1886, Gladstone proposed home rule for Ireland but was defeated in the House of Commons. The resulting split in the Liberal Party helped keep them out of office-with one short break-for twenty years. Gladstone formed his last government in 1892, at the age of 82. The Second Home Rule Bill passed through the Commons but was defeated in the House of Lords in 1893. Gladstone left office in March 1894, aged 84, as both the oldest person to serve as Prime Minister and the only Prime Minister to have served four terms. He left Parliament in 1895 and died three years later. Gladstone was known affectionately by his supporters as "The People's William" or the "G.O.M." ("Grand Old Man", or, according to his political rival Benjamin Disraeli, "God's Only Mistake"). Historians often call him one of Britain's greatest leaders. Good Condition. All autographs are genuine hand signed and 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.
Lot 98
Marie Howet (1897-1984)Turf Stacks on Achill Island (c.1926)Oil on canvas, 53 x 73cm (20¾ x 28¾)SignedProvenance: With the Frederick Gallery, Dublin, October 1995.Exhibited: Gresham Hotel, solo exhibition, Dublin 1927.Marie Howet was born at Libramont in Belgium, the daughter of Constant Howet, a doctor, and Pauline Thiry. Originally, she planned to study music but instead chose art and enrolled at the Académie Royale des Beaux-Arts in Brussels. There she studied under Constant Montald. In her first year she received several prizes, but the outbreak of the First World War led to her family's exile in France. In 1915 she enrolled in the École Nationale Supérieure des Beaux-Arts in Paris.After the war she returned to Belgium and set up a studio at Rochehaut, near Bouillon, later moving to Saint Gilles. In 1922, aged 25, she won the Belgian Prix de Rome, organised by Belgian arts minister Jules Destrée, for her Devant la maison à Rochehaut.Her works received much critical acclaim in her lifetime and she won several prizes for her work. She travelled frequently abroad, including a visit to Ireland in the mid 1920s. The present work, Turf Stacks on Achill Island, dates to around 1926.She died at the age of 87 at Libramont.
Lot 42
Brian King (b.1942)Head of James Joyce (Study from the Death Mask)Bronze, 43cm high (including base) (17)SignedEdition 6/11Formerly on loan to OPW, Farmleigh House, Phoenix Park, Dublin, for twenty years.The portrait of James Joyce featured here demonstrates King’s prolonged interest in the work of the author. This was first manifest in an exhibition that took place in Dublin’s Project Arts Centre in 1981 entitled Riverrun, the title of which was taken from the first line of Joyce’s Finnegans Wake. The following year, King produced a wall-based work into which he incorporated soil taken from Joyce’s grave in Zürich.Pádraic E. Moore, August 2019.
Lot 92
Colin Middleton RHA RUA MBE (1910-1983)The Catalan Mousetrap (1975)Oil on board, 60 x 60cm (23¾ x 23¾)Signed; also signed, inscribed and dated 1975 versoProvenance: With David Hendriks Gallery, Dublin, 1975.Exhibited: Limerick, Belltable Arts Centre, 'Towards the World's Edge', 1981, Catalogue No.42.Literature: Patrick J. Murphy, 'A Passion for Collecting: A Memoir', illustrated p.190.The bright colours and visual inventiveness of Colin Middleton’s painting in the 1970s appear primarily to have been sparked by the various journeys he was able to take during this decade, first to Australia, where he stopped to work for a month, as the culmination of a round-the-world sea voyage, and then to Spain, where his daughter, Jane, was living.The Catalan Mousetrap was part of the Barcelona Quartet included in Middleton’s 1976 exhibition at the David Hendriks Gallery (the Quartet also included Bon Voyage, now in the collection of the Irish Museum of Modern Art). Middleton’s time in Spain became increasingly influential in this heightened palette and the discovery of a new landscape and local culture, and also in reigniting Middleton’s early interest in Surrealism, visiting museums devoted to Dali and Miro.As with his earlier surrealist works, abstract elements of pattern and design also began to be integrated into Middleton’s paintings in the 1970s, although often more overtly than in the wartime period when he was still working as a designer for the linen industry. Within the present painting this creates repeated or connected series of shapes and colours across the canvas, uniting an unexpected and impenetrable association of objects and characters. Beginning in 1972 with the Wilderness Series, Middleton began to develop a particular style and iconography within his work, still related to earlier periods, often playing with our sense of perspective and physical logic to evoke a heightened mood that can be simultaneously joyous, mysterious and unsettling. Middleton noted that the incongruous advertising hoardings placed in the middle of an empty landscape that he saw in Spain had influenced him and, despite the visual unity of The Catalan Mousetrap, there is also a sense of disjuncture between its various elements which is perhaps reflective of this unexpected source.Dickon Hall, 2019
Lot 50
Nano Reid (1900-1981)Artist in the Country (1973)Oil on board, 50 x 60cm (19¾ x 23½)SignedProvenance: With The Dawson Gallery, Dublin.Exhibited: The Dawson Gallery, solo exhibition, Dublin 1973, Catalogue No.10; 'Nano Reid Retrospective', Dublin and Belfast 1974/5, Catalogue No.94, illustrated p.22; Arts Council of Ireland, 'The Delighted Eye', 1980, Catalogue No.72; Belltable Arts Centre, 'Towards the World's Edge', Limerick 1981, Catalogue No.29.In his memoir A Passion for Collecting, Patrick Murphy recalls that in 1973 he wandered into a solo exhibition of Nano Reid’s at the Dawson Gallery and was ‘greatly smitten by the exceptional quality of these late paintings’ (1). He quickly sold some shares in order to buy two paintings, one of which was Artist in the Country (2). Murphy recalls that these purchases marked the beginning of his relationship with the Dawson Gallery and its proprietor Leo Smith who told him ‘At last, you have discovered where to find the best pictures in Ireland’ (3). Anne Margaret (Nano) Reid (1900-1981) was born in Drogheda, the daughter of a publican. She attended the Sienna Convent in the town before winning a scholarship to the Metropolitan School of Art, Dublin, where she was taught by Sean Keating and Patrick Tuohy. The artist Hilda van Stockum, who befriended Reid at art school in Dublin, recalled her as ‘a fierce red-head, staring with keen green eyes behind spectacles, she was uncompromising, blunt and desperately looking for truth’ (4). Reid furthered her art education in Paris at the Academie de la Grand Chaumiere and in London at the Central School of Art and Chelsea Polytechnic before returning to Dublin. From 1934, she exhibited regularly with the Dublin Society of Painters and began to establish a reputation particularly for her portraits many of which featured her friends from Dublin’s literary circles. Despite finding critical success and, along with Norah McGuinness, representing Ireland at the Venice Biennale in 1950, as Brian Fallon has recently argued, Reid is not as well-known as she deserves to be largely because she was an innovator and ahead of her time: ‘Nano Reid is a major Irish painter, a thorough-going original and innovator, and that it is precisely this originality which has worked against her in certain quarters' (5). As works such as Artist in the Country and Boyne Fishing suggest, Reid often flouted the traditional laws of perspective and depicted some elements of the composition from above while other parts, particularly figures, are illustrated more conventionally. Today we can see her approach to perspective as a direct legacy of Cubism which she would have encountered both in Paris in the 1920s and through the work of Irish artists including Jellett, Hone and Swanzy.Reid’s handling of paint and her preference in works such as Boyne Fishing and The Farm Hand to render her subjects in loose, energetic brush strokes that deposited thin layers of paint in a distinctive earthy palette of olive green, grey, umber and ochre, also sets her apart from her Irish contemporaries and suggests the influence of expressionism as manifested in Germany and particularly France. Patrick Murphy recalls that Artist in the Country is a portrait of painter Kit Elliot in her kitchen. The figure of the artist bent over her work occupies the left hand corner of the canvas, a black cat on a chair sits in the centre and three red hens can be seen in the garden outside. Cats often appear in Reid’s work and Brian Fallon argues that the ‘airborn animals’ that feature in her work ‘probably derive from Chagall’ (6). While the painting is primarily green, unusually flashes of cobalt blue and areas of light pink and mauve help to define the forms and suggest a domestic interior. Although her influences were international, Reid’s subject matter was often personal and linked to her home in Drogheda and the Boyne Valley. James White, Director of the National Gallery of Ireland, (1964-1980) believed that ‘the surroundings of Drogheda had a big influence on Nano.’ She told the journalist Martin Dillon in 1974 , ‘What started me off was an interest in the prehistoric Irish remains. An interest grew up around all that and the natural thing was to paint it. … I looked around me more and painted what appealed to me in an emotional way. The thing is I have to have a subject that I feel about and the only ones I feel about are those places (Boyne Valley). There is no use in trying to paint a place I have no feeling for. The essence of a place is very important to me’ (7). Although Reid’s images of Drogheda and the Boyne Valley were not intended to be documentary, paintings such as Boyne Fishing constitute a valuable record of the town and its inhabitants and record and preserve customs ways of life that are long gone. Murphy bought Boyne Fishing directly from Reid during a visit to Drogheda at the invitation of Nano and her sister. It appealed to him for its ‘anarchic energy and subtle execution.’ (8) Boyne Fishing shares its subject matter with the earlier work Salmon Fishing in the Boyne which is more representational and clearly depicts the fisher men, their currachs and nets. In the The Farm Hand Reid, depicts another image of everyday work in the rural landscape. Despite being loosely sketched, in both The Farm Hand and Boyne Fishing, Reid has captured the effort, focus and strain in the men’s limbs and stance. Although her family ran a pub in town, the sight of men and women working in the fields would have been familiar to Reid and she enjoyed elevating these manual labourers to heroic figures rooted in the landscape. The Boyne Valley was of central importance to Reid but she also painted other areas of Ireland including Connemara, where she stayed on the island of Inishlacken with her friend Gerard Dillon, and West Cork. In The West Cork Mountains (1949) Reid has captured the barely tamed vegetation of the Ireland’s south west coast where the verdant green flora is punctuated by dark pink Fucshia and the vibrant yellow of buttercups and whins. Patrick Murphy recalls first seeing The West Cork Mountains (1949) at Reid’s retrospective organised by the Arts Council in 1974 and that the ‘stroke of searing yellow paint atop the mountains smote me to the heart’ (9). The work belonged to William O’Sullivan, librarian of Trinity College Dublin, but Murphy vowed then that if it ever came up for sale, he would try to buy it. In 2001 he realised that ambition and acquired this work which he thought ‘had magic its makeup’ (10). Dr Riann Coulter(1) Patrick Murphy, A Passion for Collecting: A Memoir by Patrick J Murphy, Hinds, Dublin, 2012, p. 113.(2) Murphy, A passion for Collecting, 2012, p. 69-70.(3) Murphy, A passion for Collecting, 2012, p.115.(4) Hilda van Stockum, Dublin art school in the 1920s (part 1), Irish Times, 6 March 1985)(5) Brian Fallon, ‘Sophisticated Primitive’ Irish Arts Review, Autumn 2019 Vol. 36., No. 3 , p. 75. (6) Fallon, p. 76. (7) Nano Reid interviewed by Martin Dillon, BBC Northern Ireland, 1974, hand written transcript in Reid Archives, Highlanes Gallery, Drogheda. (8) Murphy, p. 166-167.(9) Murphy, p. 331-332.(10) Murphy, p. 331-332.
Lot 125
Liam Belton RHA (b.1947)Congo Gong and Herb CutterOil on canvas, 50 x 76cm (19¾ x 30)Signed; also signed, inscribed and dated 2016 versoLiam Belton is a well-known and popular figure in Irish art circles. Given the ineffable calm and stillness of his paintings it is somewhat surprising that he first came to attention for political activism as a student in the National College of Art in the late 1960s and early ‘70s, fighting for the reforms that culminated in the college’s re-organisation into the National College of Art and Design in 1971. His political leanings led to attempts to establish free art education for all in Ballymun and Ballyfermot and he spent over twenty years teaching art to people with visual impairments but little of his Beuysian principles are visible in his paintings.Instead his signature still-life paintings represent a distillation of all that is calm, considered and, above all, constructed, rather than overtly representative of social life or ideology. While still-life paintings make up the dominant trope in his work, Belton travelled the country to compile a series of paintings of megalithic monuments in the early 2000s that show his capabilities as a landscape artist, yet retaining essential features of the still-life genre. This can be seen in Carrowmore, Co. Sligo - Dolmen (ca. 2003).However his annual entries to the RHA annual exhibition and other shows tended to be still-life paintings, generally executed in a cool, muted, palette, ranging from creamy white to chocolate, and rendered with a quite extraordinary attention to precision, balance and detail. The content changes only a little. Generally they contain domestic utensils, some of which have an antique quality, and exotic ceramic figures or references to art history in the form of pictures or postcards of work by the great masters; for a time in the past decade, they have included quite garishly coloured items from popular culture such as Disneyland figurines and toy cars, and almost always there is at least one egg, quiet, still and shadow-casting. Most still-life artists love to display their skill at capturing texture. In Liam Belton’s very classical approach, texture is a superficial quality, easily set aside in favour of colour and composition.Pewter and Eggs (2015) and Congo Gong and Herb Cutter (2016) mark a turn away from that brief flirtation with strong colour and pop and, like Carrowmore, they epitomise Belton’s love of clarity, precision and austere colours. What they all have in common is his absorption with space and with the past. The past, represented by the squat stones of the dolmen or the tribal objects and reproductions of artworks, has been reduced to stillness but the careful distancing of one item from another in the still-lifes, or viewer from dolmen in Carrowmore and his other paintings from that series, evokes a space for the stillness to work. Just as the megalithic monuments are weighed down with a sense of time and mortality, the still-life objects also recall art historical memento mori (premonitions of death) as for example in the work of Caravaggio or Dutch 17th century painters. The pervasive presence of an egg in Belton’s still-life paintings may be intended to counter-act that with a suggestion of new life and re-birth, but they also read like a reference to the myth of Giotto’s perfect circle - the test of a great artist. In this case the egg becomes a direct reference to that other perfectly-observed egg in art, the one that dangles, enigmatically, above the Madonna and saints in Piero Della Francesco’s The Virgin and Child Enthroned (c. 1475) in Milan. These are paintings about art first, pondered on, arranged, adjusted, and only about life as a secondary consideration. Even the inclusion of a reproduction of a painting by William Scott in Congo Gong and Herb Cutter, has been chosen less to impress with the artist’s knowledge of the Moderns, but rather because Scott’s emphatic shapes form a perfect co-relative for the shapes of Belton’s chosen objects.A dedicated member of the RHA since 1991, Keeper of the RHA from 1995 -2001 and a former member of the Board of the National Gallery of Ireland, Liam Belton is represented by the Peppercanister Gallery. His work is to be found in major Irish art collections.Catherine MarshallAugust 2019
Lot 41
Brian King (b.1942)AnthropocentricBronze, 51 x 45 x 14cm (20 x 17¾ x 5½)Exhibited: Brussels, 'Innovation from Tradition', 1996, illustrated in catalogue; Solomon Gallery, 'Cast 25' celebration exhibition, Dublin 2011.Born in Dublin in 1942, Brian King studied at the National College of Art and Design and graduated in 1963. Following his studies King spent formative periods in London and New York, both of which were then epicentres of cutting edge-art and countercultural activity. In 1968 King returned to Ireland and presented his first solo exhibition at Dublin’s Dawson Gallery. The decade that followed was an incredibly fruitful and frenetic period for King. It was during this phase that he espoused and experimented with a variety of different approaches and methods, all of which demonstrated his awareness of developments taking place in the visual arts internationally.In 1969 King represented Ireland at the Paris Biennale and became the first Irish artist to win the major individual prize. The modular geometric work exhibited by King in Paris demonstrated his proclivity toward the vocabulary of Minimalism, which he would have undoubtedly encountered first hand during his time in New York. The propensity toward angular, lustrous and industrial surfaces is evidenced in Galway Yellow, the large-scale steel sculpture made by King in the seventies for the grounds of University College Galway. This is one of several monumental works King produced for public spaces. Other notable examples may be viewed at Farmleigh House, Trinity College and Merrion Square, DublinAside from Minimalism, King was also one of the few Irish artists to espouse Land Art. His fascination with the landscape of Ireland is evidenced in several projects, the most ambitious of which was conceived for Cloon, Co. Wicklow in the late seventies. Although land art is anchored in a desire to relocate artistic activity outside the confines of the museum or gallery, it is usually exhibited in these aforementioned environments via maps and photo documentation. The IMMA collection contains a piece comprising of a montage of diagrams and photographs documenting the project at Cloon. The portrait of James Joyce featured here demonstrates King’s prolonged interest in the work of the author. This was first manifest in an exhibition that took place in Dublin’s Project Arts Centre in 1981 entitled Riverrun, the title of which was taken from the first line of Joyce’s Finnegans Wake. The following year, King produced a wall-based work into which he incorporated soil taken from Joyce’s grave in Zürich.The later decades of King’s career saw him cultivate a striking sculptural language comprised of elemental forms which -although ostensibly abstract- stemmed from an engagement with ideas gleaned from physics and philosophy. Libration III exemplifies King’s ability to combine traditional materials with timeless, universal forms and symbolism. A libration is a term used in astronomy to refer to an oscillation of a celestial body (such as the moon) which allows it to be viewed from a variety of angles. King’s interest in the timeless rhythms and divine order of nature is also evident in the work Anthropocentric, the title of which refers to a world view that places human life at the centre of the cosmos.Aside from his significant contribution as an artist King contributed to contemporary art in Ireland in a variety of other ways. This is demonstrated in his position of President of the Irish Exhibition of Living Art from 1972 to1982 and also as head of the sculpture department at NCAD from 1984 and 2004. Notable works by the artist may be seen in collections throughout Ireland including Dublin City Gallery The Hugh Lane Municipal Gallery of Modern Art; the Crawford Municipal Gallery, Cork; RTÉ; the Bank of Ireland; Allied Irish Banks; the University of Ulster and University College Dublin.Pádraic E. Moore, August 2019.
Lot 19
Patrick Collins HRHA (1911-1994)Sligo Landscape (1965-67)Oil on canvas 69.5 x 90cm (27¼ x 35½)SignedExhibited: Dublin, National Gallery of Ireland, 'Shaping Ireland: Landscapes in Irish Art', April-July 2019; Edinburgh Open Exhibition, c.1968.Literature: NGI, Donal Maguire Ed., Shaping Ireland: Landscapes in Irish Art, 2019, illustrated p.29.Collins was born in Dromore West, County Sligo, growing up at the edge of Sligo town. He said that his life was shaped by the local countryside far more than by family, friends or school. His complete identification with those rural surroundings consistently formed the foundation of his painting. He turned again and again to painting his youthful memories of roaming the fields near Sligo but was more interested in conjuring up the feelings he experienced when confronting nature rather than picturesque views. In doing so, he created paintings with haunting emotional intensity. Literature also nurtured Collins’ childhood imagination, with the works of modern Irish writers like W.B. Yeats, Synge and Joyce (particularly Joyce) stimulating him as a young man. He particularly admired Joyce for the way he embraced indigenous Irish subject matter, while he stylistically broke new literary ground internationally. Collins wanted to do the same with painting, which one can see in his approach to Sligo Landscape. The subject springs directly from rural Ireland, where colours are softened by the diffused silvery grey light of an overcast day, with edges softened as if veiled by mist. Although there is the suggestion of hills in the far distance, some bogland, a small stream, divided fields and some cultivation in the foreground, Collins deliberately avoids depicting his subject in a literal way. He identified with what he called the ‘Celtic imagination’, where by steering clear of precise representation an artist reveals the essence of a place that hovers beneath the seen surface. Here, he condenses the elemental character of the isolated West-the cold, the wind, the silvery light, the wetness of the atmosphere, the contained fields and the loneliness. However, like Joyce, Collins wanted to express this vision in contemporary terms. In tune with new aesthetic thinking of the mid-1960s he accepts the inherent flatness of the picture surface, reducing the subject to a few nearly abstract lines. These lines are the framework on which Collins can hang the voids, and it’s in these empty spaces that we find the poetry, the nuances of light and texture, the delicate touch of the brush, the modulations of colour.Sligo Landscape expresses a romantic view of Ireland that grew out of Collins’ direct experience of a pre-industrialised rural existence, a view nurtured on poetry and ballads. A comment in a review of his very first one man show in 1956 is as pertinent now as then, that Collins “stimulates the imagination like the aroma of a forgotten place, calling back the most startling memories.”Dr Frances Ruane HRHA, July 2019
Lot 60
Mary Swanzy HRHA (1882-1978)The White Tower (c.1926)Oil on canvas, 101 x 81cm (39¾ x 32)SignedExhibited: IMMA, 'Mary Swanzy - Voyages', Dublin Oct 2018 - Feb 2019; IMMA, 'Analysing Cubism', 2013, Dublin, Cork, Banbridge; Belltable Arts Centre, 'Towards the World's Edge', Limerick 1981; University of Limerick, 'Familiar Faces', 2008; Clifden Arts Week.Literature: S.B. Kennedy, 'Irish Art and Modernism', illustrated with colour plate; 'Analysing Cubism', IMMA, illustrated p.85; IMMA, 'Mary Swanzy - Voyages', illustrated p.121 and 211.White Tower combines architecture and environment in a powerful example of Swanzy’s interpretation of cubism, perhaps the only Irish cubist painter of landscape, Swanzy is not one of the students of Lhote or Gleizes that dominate the later modernist school in Dublin. She slowly develops her singular interpretation of the emerging trend on a study trip to Paris in 1906 where she witnessed Picasso’s unframed portrait of Gertrude Stein in her apartment. Swanzy first exhibited at The Salon des Indépendants in 1914 when Robert and Sonia Turk Delaunay were both strongly represented with their influential lyrical style of Salon Cubism known as Orphism.Her visit to New York in 1925 returning from Samoa and Hawaii produced many drawings of skyscrapers and she is also known to have visited the Italian town of San Gemignano with its skyline of medieval towers; this painting is perhaps a layering of those historical and modernist concerns. The portrait format heightens the scale of the towers while Swanzy anchors the viewpoint with natural forms and an earthy palette in the foreground. The airy brushwork of the blues framed by the white geometrics allows the subject to soar. Her use of perspective goes against the strict cubist concern of flattening of the picture plane however it illustrates Swanzy’s independence of vision and ability to see things from her own point of view. The circular motif she adopts has something of the dynamism of futurist concerns with movement while also containing an element of Celtic interlace in the swooping elliptical lines she employs. Her economy of colour and the use of pinks and violets to balance the palette is Swanzy at her most confident. The use of flowers is somewhat reminiscent of her contemporary Georgia O Keefe (1887-1986).Liz Cullinane, September 2019
Lot 56
Mainie Jellett (1897-1944)Abstract Composition with Three Elements (1925)Oil on canvas, 93 x 73cm (36¾ x 28¾)Signed and dated (19)'25Provenance: Stanley Mosse Collection; With The Dawson Gallery, Dublin.Exhibited: Dublin, IMMA, 'Mainie Jellett, December 1991 / March 1992, Catalogue No.77; Dublin, IMMA, 'Analysing Cubism', 2013, Crawford Art Gallery, Cork and F.E. McWilliam Gallery & Studion, Banbridge.Literature: Albert Gleize's book on Cubism, illustrated; 'Analysing Cubism', IMMA 2013, Dublin, Cork and Banbridge, illustrated p.55 & 116.Mainie Jellett is a towering figure in the history of Irish art. She is acknowledged as the first native artist to exhibit pure abstraction in Ireland and for two decades, from 1923 to her premature death in January 1944, she was as Bruce Arnold has written, ‘the acknowledged leader of the modern art movement in Ireland’ (1). Patrick Murphy’s interest in Jellett began in 1964 when he bought a small watercolour landscape from an auction at Adams. Although the work was signed and dated 1921, it had been catalogued simply as ‘Irish watercolour’ and so Murphy, who was the only bidder, got a bargain! (2)Born in Dublin into a prominent Protestant family of Huguenot descent, Jellett took art lessons with Sarah Cecilia Harrison and May Manning before enrolling at Dublin Metropolitan School of Art in 1914 where she was taught by William Orpen. She later studied under Walter Sickert at Westminster Art School in London and it was there that Jellett met fellow Dubliner, Evie Hone, who was to become her life-long friend and collaborator. In 1920 Jellett was awarded the Taylor Scholarship which enabled her to travel to Paris, then the centre of the art world. Hone was already in Paris and working in the studio of the Cubist André Lhote. Jellett joined her and together they learnt from Lhote how to abstract from nature while always maintaining an element of representation. After a period with Lhote, Hone and Jellett decided that they wanted to move further towards truly non-representational art. They approached the Cubist Albert Gleizes and asked if they could study with him. Gleizes did not take pupils but Jellett and Hone convinced him to make an exception. Thus began a long and fruitful collaboration between Gleizes, Jellett and Hone through which they explored both abstraction and the expression of spirituality through art. Despite the political and social turbulence that was engulfing Ireland during this period, Jellett decided to return to Dublin and introduce Irish audiences to abstraction. In pursing this goal, Jellett became both the greatest advocate of modernism in Ireland, and the prime target for those forces that rallied against it.In the autumn of 1923, Irish audiences were exposed to abstraction for the first time when Jellett exhibited a small abstract composition titled Decoration in the Society of Dublin Painters exhibition. The critical response to Decoration in 1923 reveals the hostility towards modernism in Ireland. While the Irish Times compared the painting to a malformed onion (3), utilising language reminiscent of continental attacks on modernism, the artist George Russell, described Jellett as ‘a late victim to Cubism in some sub-section of this artistic malaria’ (4).Despite Russell’s criticism, Jellett continued to paint and exhibit abstract works, including Composition with Three Elements. This accomplished work demonstrates, in both scale and ambition, the confidence that Jellett had in her ability to produce fully resolved abstract compositions. Bruce Arnold illustrates this work in his monograph on Jellett under the title Abstract Composition and notes that Albert Gleizes also illustrated it in his book Kubismus in 1928 ‘to demonstrate the third Stage of Cubism (Epic Cubism)’ (5). The palette of grey, green, blue, ochre, brown and pink is distinctly Art Deco, the design movement also known as Art Moderne, which was fashionable in France and throughout Western Europe during the 1920s and 1930s. Composition with Three Elements, represents the zenith of Jellett’s experiments with pure abstraction. By 1928, she had begun to reintroduce figuration into her cubist work and in paintings such as Homage to Fra Angelico (1928) explicit references to both art history and Christian iconography are present. This return to representation aided the reception of Jellett’s art by the Irish public but also signalled the end of her avant-garde pursuit of pure abstraction. Dr Riann Coulter (1) Bruce Arnold, Mainie Jellett and the Modern Movement in Ireland, New Haven & London, 1991, p. vii.(2) Patrick Murphy, A Passion for Collecting: A Memoir by Patrick J Murphy, Dublin, 2012, 32-33.(3) ‘Two Freak Pictures: Art and Nature’, Irish Times, 23 October 1923. (4) George Russell, Irish Statesman, 27 October 1923. (5) Arnold, p. 90.
Lot 3
Grace Henry HRHA (1868-1953)Achill CottagesOil on panel, 19 x 24.8cm (7½ x 9¾)SignedProvenance: Ex Collection of Kenneth Jameson, former Director of ACNI; Ross Auctioneers, Belfast c.1999, where purchased.Exhibited: National Gallery of Ireland, 'Shaping Ireland: Landscapes in Irish Art', Dublin April-July 2019. Literature: NGI, Donal Maguire Ed., Shaping Ireland: Landscapes in Irish Art, 2019, Illus p.48.Grace Henry (nee Mitchell) was born in 1868 near Peterhead in Aberdeenshire, Scotland. It was here that she spent the next thirty years of her life, dabbling in an artistic talent that would later name her as one of Ireland’s great female artists of the 20th century. In 1896, Henry is listed, under her maiden name, as exhibiting with the Aberdeen Artists’ Society and this marks her first known transition into life as a professional artist. In the early 1900s, Henry studied at Blanc Garrins Academy in Brussels and Delécluse Academy in Paris, engaging with the light, impressionistic style that was sweeping the continent. In Paris, Henry met her future husband and fellow artist, Paul, and, after three years, the couple moved to London where they married. Whilst in England, Henry exhibited regularly at the Royal Academy and, from 1910 onwards, she began to send pieces to Dublin to show in the Royal Hibernian Academy also.1912 saw the Henrys removing themselves from the city and finding the antithesis of hectic London life in the Achill Islands. Spending nearly a decade there, this period marked a dynamic time for the couple in which each found a way to respond to the scenes around them. Whilst Paul Henry found himself at ease in this rural land and opted for an idyllic romanticisation of his surroundings, Grace found herself empathising with the community and the hardship that prevailed there. We see this in ‘Achill Cottages’ where Grace has chosen to portray a scene not far removed from the views provided in her husband’s quintessential works. The whitewashed cottages stand before an impressive background of mountains but, unlike Paul’s depictions which suggest an easy serenity, Grace’s rough brushstrokes belie the adversity felt by each household. The buildings look battered from years of wind and the rolling clouds evoke a dynamism that tell of an approaching storm. As the smoke curls from the chimneys, we can imagine the occupants inside huddling close to a fire in the hopes of coaxing warmth into their bodies.With the approach of the 1920s, the Henrys returned to the city and established themselves in Dublin, an artistically enriched but otherwise broken couple. In 1920, they banded together with Letitia Hamilton, Mary Swanzy and Jack B. Yeats to form the Dublin Painters’ Society before going their separate ways a few years later. Leaving her now estranged husband in Ireland, Grace once again sought ambition in mainland Europe and travelled through France and Italy, soaking up the influence of a stronger sun. It is in this period that we see a new injection of colour entering Henry’s works. Gone are the earthy tones of Achill and, in their place, her palette becomes infused with delicate peaches, welcoming yellows and vibrant greens, capturing the vitality of this warmer climate. In ‘On the Terrace’, this altered tonal approach distinctly picks out the hazy heat of a Mediterranean morning, inviting us to relax in its ambience.Sadly, the outbreak of WWII forced Henry to return to Ireland. Here, she continued to exhibit at the RHA and was elected an Honorary Member in 1949, just three years before her death. A somewhat overshadowed artist, Grace Henry’s work emits a modernism and bravery that cries out for celebration, her vast ability laid bare within the Murphy Collection.
Lot 168
Barrie Cooke HRHA (1931-2014)Black Stones (BC09900)Oil on canvas, 137 x 152cm (54 x 59¾)Signed, inscribed and dated 1999Provenance: With the Kerlin Gallery, Dublin 2000.It’s well-known that Barrie Cooke had Heraclitus’s words ‘Everything flows’ on his studio wall. The fifth-century BC, Greek philosopher’s belief that everything is in a state of flux resonated with English-born, US-educated, Irish artist Barrie Cooke who, having moved to Ireland in 1954, lived close to lakes and rivers in Kilnaboy, Co Clare, Thomastown, Co Kilkenny and Kilmactranny, Co Sligo. Born in Knutsford, Cheshire, in 1931, his family emigrated to the US when Cooke was 16 and he began studying Biology at Harvard: ‘I was going to be a fishery biologist so that I could spend my life fishing’ but he switched to art history and painting and fishing became his lifelong enthusiasm. His Harvard degree, in History of Art, Biology and Chinese Poetry, and his knowledge of art history, his love of nature and his poetic sensibility are evident in his work.Seamus Heaney, writing about his friend, said that in Cooke’s case ‘[t]he rod tip is like a straw in the cosmic wind . . . the tip of the loaded brush is even more exploratory and receptive’. Black Stones, from 1999, the immediacy and freshness of the work, its movement and aliveness captures a fisherman’s attentiveness to the scene before him; it’s an artist-fisherman’s concentration on the moment. For Cooke, fishing was his contact with the earth, ‘It’s my meditation’.Black Stones is a work from the very end of the twentieth century and the end of a millennium. By then, and decades before global leaders paid any attention to the greatest crisis of our time, Barrie Cooke was very aware of how pollution was the world’s biggest challenge. He saw, first hand, the death of lakes and rivers and during the 1990s paintings such as ‘Sewage Outlet’ [1993] and ‘Lough Arrow Algae’ [1995] reflected his concerns. But this painting is fresh, clean, pure. It splashes with life. Cooke says ‘I think there has to be one thing in painting - energy, vitality, that’s ninety-nine percent of it’ and vibrant it is. The palette is simple. Black, white and blue. The large black stones are `more airy rather than weighed down and blue had always been important to Cooke: ‘right from youth blue has always been a wonderful colour. It is sky. It’s the blue of Titian, Bellini. It’s all those things.’Both representational and abstract, Black Stones drips with light and movement. Cooke himself says that ‘Art maybe is an attempt to hold the moment, to keep it alive. It is difficult, and if you manage to realise actual vitality on the canvas you have achieved something quite rare, and perhaps that’s enough.’This is a right here, right now painting. It is earth, air and water. Barrie Cooke spent a long time on each painting but it looks spontaneous and from the dazzling water, at any moment, a fish could jump.Barrie Cooke was chosen to represent Ireland at the Paris Biennale and the ten-year retrospective at the Douglas Hyde Gallery in 1986 was shown in Belfast, Cork and Limerick. A major show was held in the Haags Geementemuseum in 1992 and the RHA held a Retrospective in 2003. His work is in all major Irish Art Collections and international collections include Fogg Museum, Boston, Gemeentemuseum, The Hague, Harvard University, Stedelijk Museum, Amsterdam.Niall MacMonagle 2019
Lot 95
Jack Butler Yeats RHACrossing the Canal Bridge, from the Tram Top (1927)Oil on panel, 23 x 35.5cm (9 x 14)SignedProvenance: Sold by the artist to Leo Smith, 1944; The Dawson Gallery, Dublin; Ex Collection Peter Ledbetter; Auction Taylor DeVere's, where purchased.Exhibited: Engineer's Hall, 'Paintings', Dublin February/March 1927, Catalogue No.18; Alpine Club Gallery, 'Paintings', London June/July 1930, Catalogue No.14; National Gallery of Ireland, 'Shaping Ireland: Landscapes in Irish Art', Dublin April-July 2019.Literature: Hilary Pyle, 'Jack B. Yeats, A Catalogue Raisonne of the Oil Paintings', London 1992, Catalogue No.326; Patrick J. Murphy, 'A Passion for Collecting: A Memoir', 2012, illustrated in colour; NGI, Donal Maguire Ed., 'Shaping Ireland: Landscapes in Irish Art', 2019, illustrated p.104This very unusual painting depicts a view from the top of a double-decker tram as it crosses the Grand Canal at Portobello. The no 15 tram ran from Nelson’s Pillar via Rathmines to Terenure. The window gives a view onto the canal looking east towards Charlemont Bridge. It is night-time and the brightly lit interior of the tram and its window frame contrasts with the gloom of the outside world. The former is painted in dazzling orange and red paint, lending it a tactile appearance. The bizarre angle of the window suggests that the tram has just crossed the apex of the bridge. Beyond its confines the city appears both calm and mysterious. The sky is an intense deep blue, a colour that is enhanced by its proximity to the orange of the window frame. The regular line of the canal with its green banks, outline of trees and the flowing cascade of water evoke the regularity of the cityscape in that part of Dublin. Touches of white and yellow light indicate nocturnal activity. To the right the shadowy forms of pedestrians hurry along the street. Yeats painted several views from trams or trains, clearly enjoying the sense of distance and remove that such transport provided. He used the train and tram network extensively when he first moved back to Ireland in 1910, when he commuted regularly from Greystones to Dublin by rail. In the 1920s when he lived in Donnybrook and from 1929 Fitzwilliam Square, the subject became much more frequent in his oeuvre. One work, From the Tram Top, also painted in 1927, includes a self-portrait of the artist. The 1924 painting, The Canal from the Train, uses a similarly angled window to frame a prospect of the canal and its banks in sunlight. The intensity of the colours and the richness of the paint surface in Crossing the Canal Bridge along with the imposition of the framing device onto the landscape, makes this a deeply expressionist work that transforms a familiar location into an evocative unfamiliar spectacle. But, as always with Yeats, the physical construction of the painting remains paramount. Róisín Kennedy, September 2019A loan request has been received for this painting. It is hoped that it can be included in an exhibition of the work of Jack B. Yeats and Nick Miller to be held at the Museum De Buitenplaats in Eelde, Holland in the autumn of 2020 until January 2021. The Model Gallery in Sligo are lending the core Yeats works.
Lot 10
Saint Emilion, Bordeaux, France. OWC. 16.5/202012 VintageJancis RobinsonWhen to drink: 2020 to 2032Tasted blind. Blackish crimson. Big and rich – aiming for sweetness and drama. Lots of effort has gone into polishing the corners but there’s a slightly ersatz oak note. Lots of alcohol. The first wine that almost recalled the old exaggerated pastiche era. Some palates will love it. Jancis RobinsonTasted: 20-Jan-2016. Stored at Octavian Vaults since original en-primeur purchase.
Lot 244
Collection of seventy-six post 1932 Winter Olympic stamp covers including; Cortina 1956 Official maximum cards, in one album, a stockbook of Olympic stamps and a sheet of twenty-four 'London 2012 Olympic Games' Jessica Ennis first class stamps with a total face value of 16.8 GBP Condition Report & Further Details Click here for further images, condition, auction times & delivery costs
Lot 190
Collection of mostly modern commemorative coins including; 9ct gold hallmarked medallion to commemorate the Queen's silver jubilee, various commemorative crowns, 1996 and 2000 five pound coins, pobjoy mint 1976 hallmarked silver proof medallion, pobjoy mint 1976 hallmarked silver medallion commemorating the first passenger flight of concorde etc, in one box Condition Report & Further Details Click here for further images, condition, auction times & delivery costs
Lot 197
Four silver proof coins; 2013 'The 350th Anniversary of the Guinea' two pounds, 2013 and 2014 two pound one ounce Britannias and a 2014 'The First Birthday of HRH Prince George of Cambridge' five pounds, all cased with certificates Condition Report & Further Details Click here for further images, condition, auction times & delivery costs
Lot 156
MARIANO FORTUNY Y CARBÓ (1838-1874) THE WARRIOR signed l.r. M Fortuny watercolour 26.0 x 21.0cm / 10 1/4 x 8 1/4in Mariano Fortuny is one of the most renowned Spanish painters of the 19th Century. He specialised in genre and historical painting, as well as subjects with Orientalist themes such as the present work. He began his studies in Barcelona, winning a scholarship to travel to Rome to study at the Academi Gigi. Immediately upon his return to Spain, the Barcelona Government commissioned him to travel to North Africa to record the Spanish-Moroccan war at the time. It was here that his interest in Orientalist themes began, with some of his best known paintings being scenes both real and imagined in Morocco. In his travels to France in later years he closely observed his counterparts Delacroix and Fromentin, developing his style to accommodate the popular taste of Second Empire France. He was to emulate and equal their success. In his day he commanded as much international attention as his compatriot Sorolla, especially in France, where his works were highly sought-after. At the peak of his career, he could boast of commanding higher prices than of any of his contemporaries in Spain. Fortuny was an innovative painter, anticipating the looser brushwork of future generations, which he employed in both his oil paintings and his watercolours. He was particularly adept at capturing the effects of light while working in watercolour, as is demonstrated here in this highly atmospheric scene. This warrior figure seen from behind can be compared to the Arab Chief (1874, Philadelphia Museum of Art, Cat. 992); and to A Moroccan (1869, Prado Museum, Inventory Number D007414). It may date to the same period in Fortuny's ouevre as the latter, as he produced a number of watercolours of Arab subjects in his studio in Rome at this time. The Prado Museum in Madrid houses more works by Fortuny than any other artist in the collection, and recently held its first retrospective and published a monograph on the artist in 2017-2018. For additional works by Fortuny that are comparable to the present work see the following examples:* Fogg Art Museum - Harvard - Object No. 1943.291* Arcade Old Masters & 19th Century European Art - Sotheby's, New York - 29.01.2005, Lot 247* National Gallery of Art - Washington - Object No. 2013.176.1* Tableaux Mobilier & Objets d'Art - Pierre-Bergé & Associés, Paris - Lot 155
Lot 64
SIR ALFRED EAST, R.A., R.I., P.R.B.A., R.P.E. (1849-1913) THE BRIDGE ON THE MILL POND, UPPER SWELL, GLOUCESTERSHIRE signed l.l. Alfred East oil on canvas 42.0 x 57.0cm / 16 1/2 x 22 1/2in Sir Alfred East was one of the foremost painters of landscapes in his day. He studied first at the Glasgow School of Art, then in Paris under Fletcher and Bougereau. He became one of the earliest members of the Society of Painter Etchers in 1883, and was to garner a number of other accolades over the next twenty years. He travelled widely in Japan, France, Spain, Italy and Morocco. His work shows the influence of the Barbizon School, which included Corot, Daubigny and Rousseau. East wrote an instructive text On the art of Landscape Painting, which laid out his principles and techniques. The book also expresses his boundless enthusiasm for the subject: "The air is fresh, the clouds sail past in great columns, and at the end of the road you see your subject!...You carefully draw the outline of your subject, and you feel that the scene is even more beautiful than it appeared the day before..." (1) East, like the French painters of his day, put great stock in observing the same landscape on different occasions and in different conditions. The present work is exemplary in this regard, and is an important work in East's oeuvre as it shows the bridge over the mill pond next to the artist's studio, in Upper Swell near Stow on the Wold. East was keen to keep the location a secret in his lifetime so as to prevent tourist traffic, calling it "Over Swell" (2). The location provided a rich seam from which to draw on in his 1906 manual: illustrations in the book showing it from various perspectives include Elm Trees (p.57) and The Coming Storm (p.67). It is also the same view which East used to demonstrate precisely his rigorous practice of observation, illustrated between pp.90-91. A sketch for another perspective of this view can also be found in the Victoria & Albert Museum (Museum No. E637-1920). Walter Sickert wrote of East's paintings, "...if you take an East, place him in an artistic frame, and give him broad and quiet surroundings in your room: you cannot have a better thing." (3) Bibliography: (1) Sir Alfred East - The Art of Landscape Painting in Oil Colour - Philadelphia, 1907 (first published London, 1906) - p.14 (2) Information courtesy of the Stow Civic Society: http://www.stowcivicsociety.co.uk/sir-alfred-east/4589753835 (Last accessed 17/09/2019) (3) Walter Sickert - The Complete Writings on Art - Oxford, 2003 - p.116
Lot 60
AFTER JOSEPH MALLORD WILLIAM TURNER, R.A. TWO VIEWS OF THE ROYAL BARGE AT VIRGINIA WATER oil on panel Both: 20.0 x 30.0cm / 7 3/4 x 12in These two scenes are derived from J.M.W. Turner's etchings of 1830. Turner had painted a watercolour in c.1828-29 of the first of the pair (sold in the Old Master Paintings Evening Sale, Sotheby's, London, 08.07.2009, Lot 48) . It depicts the lake at Virginia Water, seen from the East, looking towards the Chinese pavilion. The Royal Barge is flying the Royal Standard, indicating that George IV is on board. The buoy seen in the latter work is decorated with the Cross of St George, alluding both to the King and to St George's Day (April 23rd), which was both the King and Turner's birthday. Both scenes were engraved for The Keepsake Annual (1830), and are listed as Virginia Water No. 1 & No. 2. Preparatory sketches for Turner's original watercolour are in the Kenilworth Sketchbook (Tate London, Turner Bequest), however the second work in this pair has not been traced to a watercolour yet. The present paintings are derived from the etchings, with the Mallards on the water thought by some to be a later addition by Turner, after his offer to sell the watercolour to H.M. King George IV was declined. The Mallard is of course a pun on Turner's middle name. The unusual edifice seen on the banks of the lake, with a 'Peking' roof, was a construction by the now infamous Duke of Cumberland, perhaps at the suggestion of Thomas Sandby who oversaw the landscaping project commissioned by the Duke. It was converted into a Swiss fishing cottage in 1867, and taken down in 1936. For a portrait of the Duke, see Lot 15. (2)
Lot 219
• ATTRIBUTED TO ANDRÉ DUNOYER DE SEGONZAC (1884-1974) A FOLIO OF LIFE DRAWING CLASS SKETCHES AND PORTRAITS OF ARTISTS inscribed on first page, Dessins de Mr.[?] Dunoyer de Segonzac / née le 6 Juillet 1884 a Boussy-Saint-Antoine ink & wash All: 20.5 x 28.2cm / 8 x 11in unframed, within a folio book These sketches are similar in style to those produced by Dunoyer de Segonzac for Jean Giraudoux's Le Sport (Boulougne-Sur-Seine, 1962). (49) `
Lot 322
• EDWARD WILLIS PAIGE (1890-1960) THE BARBICAN, DOVER CASTLE sold together with etchings of The Wharf and The Coastal Road Largest, image 17.0 x 12.0cm / 6 3/4 x 4 3/4in Willis Paige was one of a number of talented printmakers based in Bristol in the first half of the 20th Century. He was an early member of the Bristol Savages, a private arts club which also numbered Harry Banks, Alexander J. Heaney and Ernest Ehlers among its members. (3)
Lot 52
Rolex Oyster Perpetual Submariner (metres first) stainless steel gentleman's bracelet watch, ref. 5513, circa 1968, serial no. 201xxxx, black rotating 'ghost' bezel, metres first 'Swiss-T- ** with Rolex green box, original Swimprof tag, back sticker, Submariner brochure and anchor tag ** reputably purchased by a former teacher who was posted to the Falklands Islands 1970 for £47.14 -360 VIEW-Condition Report: - Movement - currently functioning. Dial - appears in clean condition with mild staining to the markers as expected - see images. Glass - some surface marks and light scratches present Hands - oxidised marks to the surface. Case - the bezel faded and lacking pearl with some surface marks, the head with typical marks and the case back has some surface marks and scratches to the milling from attempted case opening - see images. Crown - adjusts correctly. Bracelet - some surface marks present and some links a little swollen, wrist size 8" approx. - Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Lot 136
Junghans Mega radio controlled digital gentleman's wristwatch, case no. 25/4150109, LCD display, black leather strap with original clasp, quartz, 35mm - ** Junghans Mega box with outer box, guarantee and instructions booklet, Junghans Mega brochure, Junghans Mega 1 brochure, receipt dated 30/09/91, letter headed Junghans dated 25th June 1991 with price list - ** Junghans Mega was the first radio controlled wristwatch ever produced - Condition Report: - Movement - untested. Dial - good. Glass - good. Case - good. Strap - good. - Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Lot 164
Microma Chronograph digital gold plated and stainless steel gentleman's bracelet watch, model 601, LED display, later gold plated and stainless steel bracelet, quartz, 36mm - ** Microma presentation case, outer box, guarantee and instructions booklet, two advertising leaflets and price list dated September 1976 - ** Microma produced the world's first continuous time digital watch - Condition Report: - Movement - untested. Dial - good. Glass - good. Case - good. Bracelet - good. - Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Lot 118
Bulova Thermatron stainless steel gentleman's bracelet watch, circa 1982, black dial with gilt baton markers, outer minute track and green centre seconds, quartz, 33mm - ** The Bulova Thermatron was the first watch in the world to be powered by thermo-generation (body heat) - Condition Report: - Movement - untested. Dial - good. Glass - good. Hands - some oxidisation. Case - good. Crown - adjusting correctly. Bracelet - good. - Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Lot 275
DANTE GABRIEL ROSSETTI (1828-1882) Portrait of George Gordon Hake, conté crayon, 43 x 31.5cm Exh: Royal Academy of Arts, London, Rossetti Exhibition 1973 No.75 Prov: By family descent Notes Lots 274 and 275 depict respectively the English physician and poet Dr Thomas Gordon Hake (1809-1895) and his son George Gordon Hake (1847-1903), both of whom were to become great friends of Rossetti in the artist's later years. Rossetti first became aware of Dr T.G. Hake through publications of his poetry, which the artist admired greatly. They first met in 1869 and communicated by post for the next nine years, exchanging views and advice on the art of poetry. Not long after their first meeting Rossetti's health deteriorated dramatically and Dr T.G. Hake became a great aid, companion and physician to him, even taking him into his own home in Roehampton in 1872. At the same time his son, George Gordon Hake, was visiting from Oxford and assisted in caring for Rossetti. Together with the artist and poet William Bell Scott they accompanied Dante Gabriel to a house in Scotland placed at his disposal to promote his recovery. From there they moved on to a farmhouse at Trowan, which is where these drawings were executed. George had thoughts of pursuing a career in journalism but Rossetti persuaded him to stay on instead as his secretary and companion, first at Trowan and from September 1872 at Kelmscott. Their working relationship continued until 1877, when the artist's ferocious temper became too much to bear although George remained a helper and a friend. George Gordon Hake went on to have a distinguished career as an archaeologist, working for the British colonial authorities in Cyprus, and many of his finds can still be seen in the British Museum. His later life, until his death, was spent in Mashonaland, East Africa, and his papers are to be found in the archives of Rhodes House, Oxford. The drawings are unusual in their depiction of men rather than women and mark Rossetti's return to comparative normality after the complete breakdown of his health. They are an extraordinary feat of draughtsmanship at such a turbulent period in the artist's life. Indeed, excluding the portrait of Theodore Watts-Dunton, the artist's brother, William Michael Rossetti, believed them to be the best of Dante Gabriel's male portraits. For further information please see William Gaunt 'Two Portrait Drawings by Dante Gabriel Rossetti' (The Connoisseur December 1942). A copy of this article is available for viewing at the saleroom.
Lot 251
JEAN-ROBERT ANGO (d.1773) The faint Madonna supported by one of the three maries after Daniele da Volterra, pencil drawing, 12 x 20cm; and a study of two women seated attributed to Maurice Feild (1905-1988), pencil and sepia chalks, 29 x 24cm (2) The first part of lot ex Christie's sale no. 5954 lot 279 April 21st 1998 (part)
Lot 274
DANTE GABRIEL ROSSETTI (1828-1882) Portrait of Dr Thomas Gordon Hake, signed with monogram and dated 1872, conté crayon, 44 x 29.5cm Exh: Royal Academy of Arts, London Rossetti Exhibition 1973 No.74 Illus: The frontispiece for "The Poems of Thomas Gordon Hake", Elkin Matthews and John Lane (pubs), London 1894 Prov: By family descent Notes: Lots 274 and 275 depict respectively the English physician and poet Dr Thomas Gordon Hake (1809-1895) and his son George Gordon Hake (1847-1903), both of whom were to become great friends of Rossetti in the artist's later years. Rossetti first became aware of Dr T.G. Hake through publications of his poetry, which the artist admired greatly. They first met in 1869 and communicated by post for the next nine years, exchanging views and advice on the art of poetry. Not long after their first meeting Rossetti's health deteriorated dramatically and Dr T.G. Hake became a great aid, companion and physician to him, even taking him into his own home in Roehampton in 1872. At the same time his son, George Gordon Hake, was visiting from Oxford and assisted in caring for Rossetti. Together with the artist and poet William Bell Scott they accompanied Dante Gabriel to a house in Scotland placed at his disposal to promote his recovery. From there they moved on to a farmhouse at Trowan, which is where these drawings were executed. George had thoughts of pursuing a career in journalism but Rossetti persuaded him to stay on instead as his secretary and companion, first at Trowan and from September 1872 at Kelmscott. Their working relationship continued until 1877, when the artist's ferocious temper became too much to bear although George remained a helper and a friend. George Gordon Hake went on to have a distinguished career as an archaeologist, working for the British colonial authorities in Cyprus, and many of his finds can still be seen in the British Museum. His later life, until his death, was spent in Mashonaland, East Africa, and his papers are to be found in the archives of Rhodes House, Oxford. The drawings are unusual in their depiction of men rather than women and mark Rossetti's return to comparative normality after the complete breakdown of his health. They are an extraordinary feat of draughtsmanship at such a turbulent period in the artist's life. Indeed, excluding the portrait of Theodore Watts-Dunton, the artist's brother, William Michael Rossetti, believed them to be the best of Dante Gabriel's male portraits. For further information please see William Gaunt 'Two Portrait Drawings by Dante Gabriel Rossetti' (The Connoisseur December 1942). A copy of this article is available for viewing at the saleroom.
![[WWI interest] An Edwardian silver oval pedestal dish by Munsey & Co., London 1909, stamped for Munsey & Co., Cambrid](https://cdn.globalauctionplatform.com/33c41350-79fc-4b3b-acf6-aad900e216a9/7d559f85-cfc8-47fd-8ae0-aada011dbca0/468x382.jpg)
Lot 58
[WWI interest] An Edwardian silver oval pedestal dish by Munsey & Co., London 1909, stamped for Munsey & Co., Cambridge as retailers, with a gadrooned rim, on a spreading oval foot with a conforming rim, presentation engraved Presented to T. R. Bottomley, Esq. 29th August 1914. By the Officers of 1st Battn. East Yorkshire Regiment, 28cm (11in) long, 519g (16.7 oz) Thomas Reginald Bottomley (1887-1914) was from Halifax, West Yorkshire. He was a second lieutenant in C company of the 1st battalion and was married to Eveline Mary Gibson from Sowerby Bridge. He was killed on the 23rd September at Vendresse on the Western Front (aged 26), less than a fortnight after arriving in France.The 1st battalion was a regular unit of the regiment and departed from Cambridge for France in early September 1914. They landed at St Nazaire on 10th September 1914. They saw their first action on the Aisne heights.
![Antiquarian Books - Anon, An Apology For the Life of Colley Cibber, Comedian, and Late Patentee of the Theatre-Royal [...], f](https://cdn.globalauctionplatform.com/e330d3eb-856b-48cc-9555-aae800981c14/4df188a1-39b3-4ab8-9736-aaed0115342a/468x382.jpg)
Lot 439
Antiquarian Books - Anon, An Apology For the Life of Colley Cibber, Comedian, and Late Patentee of the Theatre-Royal [...], fourth edition, two-volume set, R. and J. Dodsley, London 1756, disbound contemporary calf, marbled endpapers, 12mo; Phædri Augusti Cæsaris Liberti Fabularum Aesopicarum [Aesop's Fables], Eton 1814, contemporary calf, 12mo; 18th century Cooke's Edition of Poetical Works of William Congreve, dated ownership inscription 1798, full calf; The Remains of Henry Kirke White, two volumes only, 1829, contemporary quarter-calf; other bindings; A Manual of Domestic Economy, With Hints On Domestic Medicine and Surgery, sixth edition, 1862, ink MS marginalia and figures, period buckram, 12mo; Rolleston (T.W.), Myths & Legends of the Celtic Race, With Fifty-Eight Full-page Illustrations, second and revised edition, George G. Harrap & Company, London 1917, gilt-embossed buckram; Wilson (H.W.), With The Flag to Pretoria: A History of the Boer War of 1899 - 1900, two-volume set, Harmsworth Brothers, Limited, London 1900, quarter-leather and buckram boards, folios; Local Interest, Wirksworth Grammar School full leather prize binding, gilt-embossed and inscribed presentation plate, dated Midsummer 1905; Poems by Joan Burgess, Printed for Private Circulation, Jarrold & Sons, Limited, Norwich 1931, viii, 33pp, contemporary brown pigskin, floppy 12mo; Jewitt (L), Life of Josiah Wedgwood; Dugdale's England and Wales Delineated, volume IX only, 1845; Rowse (A.L.), Poems Chiefly Cornish, first edition, fourth impression, Faber and Faber, London 1944, h/b, d/j; The Chart and Compass: Sailors' Magazine, Volume XX, 1898, original embossed blue buckram; other 19th century and later periodicals; literature; theology; qty
Lot 62
ATTRIBUTED TO CHRISTOPHER DRESSER FOR THE COALBROOKDALE COMPANY AESTHETIC MOVEMENT CAST IRON FENDER, cast and pierced with stylised foliate motifs and with a frieze of pierced roundels below, with Victorian registration cast lozenge and serial number 230922/ no 235/ 4ft 6" (incised) (Dimensions: 138.5cm wide, 22cm high, 37cm deep)(138.5cm wide, 22cm high, 37cm deep)Footnote: Literature: Lyons, Harry Christopher Dresser: The People's Designer , Woodbridge 2005, pp. 152-3. Note: The National Archives at Kew record this piece at 10th July 1869 as 'Design for a Fender/ The Coalbrookdale Co./ Coalbrookdale/ Shropshire'. Dresser is first documented as working for the firm circa 1870 however stylistic evidence and designs such as the 'Water Plant' garden furniture were registered at an earlier date, pointing to his designing for the firm from the mid-1860s.
Lot 275
ROBERT BURNS (1869-1941) THIS IS THE CAT, TWO ORIGINAL ILLUSTRATIONS pen & ink, both mounted within a single frame (Dimensions: each 26cm x 20cm) (Qty: (2))(each 26cm x 20cm)Footnote: Provenance: Estate of Dr. Virginia Glenn Note: The original illustration by Burns (circa 1936) for the book The House that Jack Built, first published in 1937
Lot 202
ATTRIBUTED TO CHARLES ROBERT ASHBEE FOR THE GUILD OF HANDICRAFTS COPPER, ENAMEL AND PLATED CHALICE with planished surface, the cover with red enamel roundel and openwork finial, set with a red cabochon and enclosing a plated interior, the bowl above a knopped stem with openwork plant form supports, above a circular base with six domed roundels (Dimensions: 35.5cm high )(35.5cm high )Footnote: Literature: Crawford, Alan 'C.R. Ashbee', Yale University Press 1985, pp.318-321. Note: During the early 1890s, the Guild of Handicrafts started using silver and silver plate for the first time. The focus at first was decorative sports trophies and cups, followed by more functional objects in the latter half of the decade as the Guild shifted its attention to silver tableware. Ashbee continued to make cups with covers, some of which were used as prizes or trophies for sport in the late 1890s and early 1900s. These he produced partly because of his interest in watching competitive sports, and also because of his passion for craftsmanship and his disdain for mass-produced trophies that he believed to be an insult to both art and athletics. The cup and cover offered here demonstrates this admiration for hand-crafted metalwork. The textured surface of the metal is intentionally left unsmooth or planished to show the human interaction and imprint of the craft. It demonstrates typical characteristics of Ashbee's designs, not only with regard to its finish but also due to the foliate openwork decoration, the enamelling and the setting of cabochon stones (which also feature in his jewellery and metalwork from the early 1890s.) The plated finish on the interior is thought to have extended throughout the piece and has now been polished away. The form is inspired by German and Dutch standing cups of the 1600s, of which there was a fine collection at the South Kensington Museum in London, where Ashbee was a regular visitor.
Lot 43
GOURY, M. JULES & OWEN JONES LA ALHAMBRA PALAIS. PLANS, ELEVATIONS, SECTIONS AND DETAILS OF THE Adelphi: published by the Author, 1841. 2 volumes, folio, large paper copy, two additional lithographed title-pages and 82 plates (including 4 double-page plates) only of 100 in total, contemporary burgundy morocco gilt, some rubbing to covers, joints weak and upper joint of first volume detached from text-block, some foxing throughout (more severe to initial pages of volume 1), apparently lacking 20 plates
Lot 51
ALFRED WATERHOUSE (1830-1905) FOR HENRY CAPEL, LONDON PAIR OF SPINDLE-BACKED MAHOGANY SIDE CHAIRS, each with radiating spindle backs above associated period upholstery on ring-turned and tapering legs (Dimensions: 43cm wide, 91cm high, 47cm deep) (Qty: (2))(43cm wide, 91cm high, 47cm deep)Footnote: Literature: Cooper, Jeremy Victorian & Edwardian Furniture & Interiors , Thames & Hudson 1998, p.106, pl. 229 Note: This chair was first designed by Alfred Waterhouse for Roundell Palmer (1812–1895), 1st Earl of Selborne, Blackmoor House, Hampshire.
Lot 501
CLAUD LOVAT FRASER (1890-1921) 'THE QUEEN OF HEARTS' COSTUME DESIGN ink, pencil and watercolour on paper, mounted on card, signed and dated lower right CLAUD FRASER/ JANY 1921, with inscription COLISEUM/ NURSERY RHYMES/ BALLET/ JANY. 1921/ DESIGN FOR DRESS/ MME: KARSAVENA AS "THE QUEEN OF HEARTS", framed (Dimensions: 47.5cm x 32cm)(47.5cm x 32cm)Condition report: Note: Ballerina Tamara Karsavina performed three roles in her one-act ballet, Nursery Rhymes, to music by Schubert, which was first staged at the London Coliseum on 3 January 1921 and performed there for two weeks. For another costume design in the series by Fraser see V&A collection no. S.1-2012
Lot 394
MRS. NEWMAN (1840-1927) SUITE OF ARTS & CRAFTS JEWELLERY, CIRCA 1900 moonstone and enamel set, comprising a BRACELET, 31cm long; a MATCHING NECKLACE, 41cm long including chain; and a PENDANT, 9.5cm drop excluding chain, all within original velvet and silk-lined fitted box, with maker's mark MRS. NEWMAN/ GOLDSMITH & COURT JEWELLER/ 10 SAVILE ROW/ W., the lid with gilt tooled initials F.L.O. (Qty: (3))Footnote: Note: Charlotte Newman (1840-1927), usually known as Mrs Philip Newman, was a London-based jeweller, making jewels in the Classical and Renaissance revival styles and later as in this case in the Arts & Crafts style. Her pieces were shown at the International Exhibitions in Paris in 1867 and 1878 and she was the first woman to be admitted to the Jewellers Guild in London.
Lot 64
EDWARD WILLIAM GODWIN (1833-1886) FOR WILLIAM WATT AESTHETIC MOVEMENT DRAWING ROOM CABINET, CIRCA ebonised wood, with carved knopped finials above a staged mirror back, two glazed doors and original 'Dromore' leather panels, with a further mirrored shelf surmounting glazed doors flanked by open shelved sides, the whole raised on tapered turned legs (Dimensions: 111cm wide, 180.5cm high, 41cm deep)(111cm wide, 180.5cm high, 41cm deep)Footnote: Literature: Soros, Susan The Secular Furniture of E. W. Godwin , Yale 1999, pp. 93;126; 160 and 214, plates 112; 171; 225 and 341 Note: The embossed and gilded leather used in this drawing room cabinet was used exclusively by Godwin in his furniture designs. It was first used in the furniture he designed for the interiors at Dromore Castle, Co. Limerick, built for the 3 rd Earl of Limerick circa 1865-1870. Other features of this piece which are characteristic of Godwin’s furniture of the mid to late 1870s are the canted sides, the pierced and carved chrysanthemum motifs, reeded and fluted detailing and ebonised finish.
Lot 529
§ RAOUL DUFY (1877-1953) FOR BIANCHINI-FÉRIER ORIGINAL FABRIC DESIGN, DATED 1917 pen and ink, collage, inscribed in pencil 1 NOIR PLOMBINE/ 1 NOIR MAT FOND/ 51586/ RENTIR LE MARDI 26 SEPT 1917/ NO 1878; together with TWO FURTHER TEXTILE DESIGNS BY RAOUL DUFY FOR BIANCHINI-FÉRIER, gouache and watercolour, each mounted in a single frame, 22cm x 16cm each (Qty: (3))Footnote: Provenance: 'Two Centuries of Design: The Bianchini-Férier Collection' Christies, London, 25-27th July 2001 Note: Dufy was a painter who had exhibited with the Fauves and first began to design textiles for Paul Poiret in 1911. From 1912 until 1930 he designed woven and printed textiles for the silk manufacturers Bianchini-Férier. He created a range of lively fabrics in bright colours, many of which were bought by leading couturiers such as Lanvin, Patou and Poiret.
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