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Click here to subscribeMilitaria in Seven Glazed Displays, containing:- Australian Peace Medallion 1919 with shoulder title and cap badge; Second World War Italian/German African Campaign Medal; four Spanish Civil War cap badges in a bone inlaid frame; East Lancashire Regiment bimetal cap badge; First World War French Army uniform button; Royal Scots Fusiliers glengarry badge; two lead musket balls recovered from the wreck of the ''Association'' circa 1700 (7)
A Pair of Barr & Stroud C.F. 41 7x Naval Binoculars, A.P. No. 1900A, Serial No. 33772, stamped broad arrow marks, black enamel and grained leather finish, with leather eyepiece protectors and strap, leather case; a pair of First World War, Emil Busch, Fernglas 08 Military Binoculars, barrels lacking original finish (2)Barr & Stroud - Some wear to black-enamelled finish. Lenses in good order but with some internal spotting. Filters working. Focus to both eyepieces working. Leather strap worn. Leather case with some wear to vulnerable areas. Busch - Barrels stripped of finish. Lenses in good order and bright.
A Stereoscopic Viewer and a Collection of Stereoscopic Cards, Mostly Military Subjects, including NPG (Neue Photographische Gesellschaft), First World War Eastern Front (approx. 105); Realistic Travels Publishers, Assorted Irish Rebellion and First World War (approx. 63); Underwood and Underwood, The War of the Nations, original box (approx. 36);Underwood and Underwood, South African War, original box (approx.24); another, similar set, associated box (approx. 35), etc., Viewer with signs of wear commensurate with age and use. Cards mostly in good order - mainly strong images but with wear and fading to some mounts.
Rebecca.27x41in one sheet Poster. American romantic psychological thriller directed by Alred Hitchcock. Starring Laurence Olivier and Joan Fontaine. It was Hitchcocks first American project basing the film on the novel by Daphne du Maurier. Nominated for eleven Academy Awards winning two of them Best Picture and Best Black & White Cinematography.
Harry Potter and the Philosophers Stone.Quad Poster 30x40in. 2001 fantasy film directed by Chris Columbus based on the novel by J. K. Rowling. Starring Daniel Radcliffe, Rupert Grant and Emma Watson. The film is the first instalment in the long-running Harry Potter film series. Received three Academy Award nominations and seven BAFTA Award nominations.
Harry Potter and The Goblet of Fire.Quad Poster 30x40in. 2005 fantasy film directed by Chris Columbus based on the novel by J. K. Rowling. Starring Daniel Radcliffe, Rupert Grant and Emma Watson. Fourth instalment in the Harry Potter film series. Nominated for the Academy Award for Best Art Direction at the 78th Academy Awards. And the film won the BAFTA Award for Best production Design, making it the first Harry Potter film to win at the BAFTA's.
Star Wars : Episode 1 - The Phantom Menace.1999 Quad Poster 30x40in. Epic space opera film written and directed by George Lucas. Starring Liam Neeson, Ewan McGregor and Natalie Portman. It is the first instalment in the Star Wars prequel trilogy. It is set 32 years before the Original film 'Episode IV - A New Hope'. Won six Academy Awards at the 50th Academy Awards at the 35th Golden Globe Awards the film received four nominations winning one for Best Score and it received six BAFTA Award nominations winning two, Best Sound and Best Score.
Rolls-Royce - Automobilia & Engineering - Massac Buist (H), Rolls-Royce Memories: A Coming-of-Age Souvenir, Printed at The Cambridge University Press, For Private Circulation, 1926, oak buckram and drab boards, paper title label to front board, 4to; The Metallurgist: Johann Conrad Fischer 1773 - 1854 and His Relations with Britain, first and only edition, George Fischer Limited, Schaffhausen 1947, red cloth spine, Amalfi-type papered boards, dust wrapper, MS presentation inscription: To H.J. Swift, Esq., With The Compliments and Best Regards of George Fischer Limited, Schaffhausen, 12th January, 1950, tall 4to; Harker (Ronald W.), Rolls-Royce From the Wings: Military Aviation, signed with inscribed dedication from the author to Harry Swift and his wife, Oxford Illustrated Press, Oxford 1976, h/b, d/j, 8vo; other Rolls-Royce books; The Institution of Automobile Engineers: Proceedings of the Session 1930-31, and Index [for volumes] XXI - XXV; others, [17] Provenance: Harry 'Sft' John Swift, OBE, of Thorpe House, Littleover, Derby, former Overall General Manager of Rolls-Royce.
Antiquarian Books - Beerbohm (Max), A Book of Caricatures, first edition, Methuen & Co., London 1907, coloured photogravure frontispiece, forty-eight monochrome photogravure plates of political and literary figures, publisher's quarter tan buckram with red spine with gilt-embossed title, the front board with printed cream paper label, crown folio
Dinky Toys 157 Jaguar XK120 Coupe, five examples, first yellow body, light yellow hubs, second dark sage green body, fawn hubs, third yellow lower body, grey upper body and hub, fourth turquoise lower body, cerise upper body hubs, fifth white body, fawn hubs, three in remains of original boxes, G-E, boxes P (5)
Military Medical figures by Britains, Crescent, Hilco, Fry etc, with a wooden, possibly home - made, First Aid Post and Clearing Station (base 265 X 340mm), a boxed Astra and unboxed Britains AA gun, Britains 2nd grade and Hilco lead soldiers (17) and a fabric tent, generally F, (83 inc 13 stretchers and 1 wooden building), probably 50% of figures repainted or incomplete, wooden base with a detached, but present, wooden post,
Dinky Toys Wagons & Trailers, 30n Farm Produce Wagon, green body, type 2 open chassis, black ridged hubs, VG-E, 25r Forward Control Lorry, orange body, green ridged hubs, G-VG, 33w Mechanical Horse & Trailer, grey, black ridged hubs, VG, 25g Trailer (2), early post-war, first fawn, second green, both smooth black hubs, VG, fawn lacks drawbar (5)
4) Optare Delta Coach-Van Hool Coach-Plaxton Coach Grey Green 15707-Leyland PD2/12 Orion Birkenhead 2005-in original boxes in excellent condition-(4) Alexander 'Y' Type PMT First Bus 22502-Oxford Christmas 2015 Bus-Precision Diecast Model shuttle Bus-Bristol Rell-Flat front Cumberland 25002-(8) Small Corgi and Matchbox-Kellogg's-AA Van-Black Cab-Sutton Seeds-Eddie Stobart-Ford Transit Wreaker-Beanz Meanz Heinz-Christmas 2011-all in original boxes and in excellent condition
Gilgow(4)-Diecast buses scale 1-76-MCW Atlandtean Great Yarmouth 16525- Plax SLF MKII Dart First Western National 36702-MCW Daimler Fleetline Nottingham City Transport 18006-Harrington Cavalier coach Royal Blue 12118 in original boxes excellent condition-Gilgow(4)-Diecast Buses scale 1-76-Plaxton Paramount 3500 United Welsh 26701 DL-Bristol FLF Lodekka Eastern National 14002 DL-Daimler DMS Midland Red 25802 DL-Leyland National Northern Vaux Beers 15103 DL-in original boxes excellent condition-Corgi(5) memories-AA Patrol Service-Guinness-My Goodness Van-Eddie Stobart 'Eddie Stobart Ltd' Van-Cadbury Model Van 1928-Views Van- in original boxes excellent condition
Hilary Heron (1923-1976)Bird Barking (1959)Welded steel, 213cm long, 105cm high (83¾ x 41¼’’)Provenance: From the Collection of the late John Hunt who is thought to have been bought directly from the artist circa 1965 and thence by descent to the current owner.Exhibited: Hilary Heron, The Waddington Galleries London, 1960. Cat. No. 2 .Ulster Society of Women Artists, Belfast, 1961.Hilary Heron Sculpture, Queens University Belfast, Visual Arts Group. 1963. Cat. No. 2.Literature: ‘Irish Women Artists: From the Eighteenth Century to the Present Day’, National Gallery of Ireland/The Douglas Hyde Gallery. Illustrated Fig. 30. Page 44.Hilary Heron (1923-77) was the pioneering figure in modern sculpture in Ireland in the 1940s, 1950s and 1960s. She attended the National College of Art in Dublin in the early 1940s and as a student she won the Taylor Art Scholarship Prize in three successive years. Heron exhibited at the first Irish Exhibition of Living Art in 1943 and continued to show with them for over twenty years. Winning the IELA Mainie Jellett travelling scholarship, she spent most of 1948 in Paris and was influenced by the Post War existentialist art she encountered. She was related by marriage to playwright Samuel Beckett and he accompanied her to galleries and introduced her to the Paris art world. It was here that she became enamoured with welding as a sculptural medium having seen works by Pablo Picasso, Alexander Calder, and Julio González. The medium of ambitious modern sculpture between 1945 and 1960 was welded iron and Heron was the first Irish artist to exhibit welded sculpture. In doing so she influenced future generations of Irish sculptors. She was also something of a pioneer in two dimensional relief work using lead and other media. When her gallery Waddingtons moved to London in the mid-fifties she and Jack B. Yeats were the only two artists from their Dublin gallery who had London solo shows with them. By this time reviewers and commentators were universally positive, writing that Heron was Ireland’s only modern and most promising sculptor and in touch with outside influences. Her stature as Ireland’s foremost sculptor was re-enforced when she was selected with Louis le Brocquy to represent Ireland at the important Venice Biennale in 1956 where she exhibited nine carvings and three welded pieces. In the late 1950s and early 1960s she shared a studio in London with the English sculptor Elisabeth Frink. It was here that Heron completed this current work. It was exhibited in her first London solo show which the review in The Observer newspaper described as ‘bringing something fresh, diverting, and also very genuine to our inbred world of sculpture’. Birds were a theme in Heron’s work and Bird Barking, 1959, in welded steel is one of the largest sculptures she made. This surreal work was prompted by a comment made by a city friend of hers, who couldn’t sleep while staying in the countryside, because of the “cuckoo barking”. Heron is an important sculptor in Irish art history and she is under-represented in Irish public galleries, The Observer review suggested that her work should be bought for a public collection, that opportunity now presents itself again.Billy Shortall March 2018
Basil Ivan Rákóczi (1908-1979)Le Poete et le Taureau (1949)Oil on canvas, 45 x 60cm (17¾ x 23½'')Signed; inscribed with title and dated versoProvenance: The artist's family by descentBasil Rakoczi was living in a friend’s flat on Rue Gregoire de Tours VI in Paris when this oil was painted in the early spring of 1949. This was the first of a small series of paintings with the bull as a central focus. It followed his continued interests in ancient history and symbolism. The subject of bulls, for him, came from Mithraic history and culture where the slaying of these creatures was much featured. The poet in the painting is likely a reference to Statius, a Latin poet who first put Mithraic culture to verse. He sits alongside the calm bull, a reflection that words are more powerful than violence. Equally the painting continued the artist’s lifelong experimentation with colour, often breaking barriers with the extravagant use of bright or strong colours or both. Exemplifying this point, he wrote in his diary for the 9thMarch 1949: “Up early and painted ‘Le Poete et le toureau’. Liberating purples and violets in oil”.Rakoczi was continuing to live with friends, in cheap hotels or studios in both Paris and on the south coast of France. He had done so since the end of the Second World War, a continued reaction of unsettledness following the loss of his dear friend and lover, Kenneth Hall. Despite his many moves of accommodation, his painting was prolific and he continued to explore different themes in his work, looking to bring in new ideas, as well as incorporating his love of bold colours.Our thanks to Christopher Rakoczi for his help in cataloguing this and the previous two lots.
Grace Henry (1868-1953)Strand Achill (1910-1912)Oil on canvas, 40 x 61cm (15¾ x 24'')SignedGrace Henry first went to Achill with her husband, Paul Henry, in the summer of 1910 and remained there - on and off- until 1919. To begin with they were both enthralled by life on the island, as for example her Top of the Hill, 1914-15 (Limerick Art Gallery) shows, but slowly Grace grew disenchanted by its limitations. The handling of paint on the sand and on the water illustrates the simplicity which typifies both the Henrys work of these years. One cannot be sure of the whereabouts of the scene, but it may represent the southern shores of the Corraun Peninsula. Alternatively Keel Strand is a possibility, although the distant mountains seem far distant from the Menawn Cliffs which dominate the area. Despite the representation of this picture, Grace Henry was arguably more avant-garde in her work than her husband and she certainly veered more towards abstraction. Dated 1910-12 on stylistic grounds and on the evidence of the signature. Dr S.B. Kennedy
Richard Doyle (1824 - 1883)Pied Piper of HamelinWatercolour, 51 x 77cm (20 x 30¼)Signed Exhibited: The works of Thomas Gainsborough, R.A., and a collection of drawings by the late Richard Doyle, The Grosvenor Gallery, London, 1885, no. 287 in the catalogue, lent by A. H Christie, esq of East Runton, Norfolk. From an early age Richard Doyle or ‘Dickie Doyle’ as he was affectionately known, showed a natural ability for creating original and humorous designs. A consummate draughtsman, during his teenage years he kept a manuscript journal, now housed in the Print department of the British Museum, which consists of 156 pages of pen and ink sketches. He developed a successful career as an book illustrator with William Thackeray declaring on the advent of a new translation of Brother Grimm’s fairytales ‘The Fairy Ring’ in 1846, that he was the new ‘master of the fairyland’ supplanting the artist George Cruikshank. (The Adventures of Arthur Conan Doyle by Russell Miller, 2010). Doyle also worked for many years as an illustrator for the satirical magazine Punch (1841 - 2002), designing their first cover and masthead and producing more than one thousand drawings during his seven years of employment. A staunch Catholic all his life, his relationship with Punch came to a drastic end in 1850 when he resigned due to their hostility towards the current Pope. From this point onwards there is a significant shift in the trajectory of his artistic career. Although he continued to provide fantastical illustrations for books, such as his celebrated 'In Fairyland' (1869), by the mid-1870s, he had begun to experiment with larger scale works in watercolour, such as the present example. It is important to note he never had any formal training in the medium; these works were therefore technically experimental. This unconventional approach, lends itself to these mythological subjects in which he imbued them with a surreal or dreamlike quality. He exhibited in 1868 and 1871 with the RA and two years following his death in 1883, the Grosvenor Gallery in London exhibited a collection of his drawings in which The Pied Piper of Hamelin was included. The Pied Piper of Hamelin is a particularly interesting subject to depict, as there are numerous contradictory endings to the story. The legend dates back to the Middle Ages, and tells the tale of people of Hamelin, Lower Saxony, whose city is suffering from a plague of rats. The Pied Piper is hired by the mayor to lure the rats away with his magical instrument, in return for payment. However, when he has accomplished his task, the mayor reneges on their agreement. It is at this point that the sequence of events becomes confused. In certain versions, the piper takes revenge on the town by returning and in the same manner and luring all of the children, bar three, from the town to the Weser River, to their death. In others, again he transfixes them with his music but leads them instead to the beautiful lands surrounding the Koppenberg Mountain. In this more pleasant account, once his debt has been paid he returns all of the children unharmed. It is difficult to ascertain from Doyle’s work which version of events he has decided to depict. What fate lies just beyond the frame for the innocent children of Hamelin The two figures closest to the Piper seem to belie a more sinister turn of events, as they hold onto one another turning away from the music in fear. Their newfound understanding is visually contrasted with the hoards of smiling children behind them, blindly following the Piper. They have not yet crossed the town’s threshold, here a physical as well as metaphorical space, that seems to illustrate the moment in our lives in which our childhood innocence is lost to the cruel adult world. This is further heightened by the anguish and torment of the parents in the distance calling in desperation after their lost children.It could be argued that Doyle’s resignation from Punch, due to his dislike of their contemporary politics, made him outdated for the period in which he was working, a time of great turmoil and change in British and Irish society. His commitment to depicting the fantastical, through traditional forms of story telling, could be read as mere romantic folly. However, to a higher degree, mythology had been used for centuries by societies to make sense of the world in which they lived. Doyle’s work was concerned with awakening the viewer's imagination and challenging conventional ways of seeing by drawing their attention to the ambiguity of everyday experience. Contemporary European and Anglo-Irish literature was often a vital resource for artists of a Romantic tradition, which celebrated the natural over the rational. Worlds represented in the stories and poems in which Doyle illustrated were not ordered, they were filled with wonderful and at times, in the case of the town of Hamelin, terrifying phenomena. Niamh Corcoran
Second edition of the advertising poster created for the promotion of the film Barry Lyndon published in 1986. The lot is completed by the first edition of the lobby card set published in 1976 for the first release of the film in Italian cinemas. Poster 55.12 x 39.37 in. Lobby card set 18.11 x 25.59 in.
Elegant tricorn hat in black felt and silver trimmings with a black silk bow, in the British military style of the end of the 18th Century, beige inner leather band, size 7 ¼. Produced for the 1975 film Barry Lyndon and designed by Milena Canonero, the most famous award-winning Italian costume designer in Hollywood who won her first Oscar for best costumes with this movie.
Beautiful first edition of the poster published by Rotolito in 1968 for the advertising campaign of Kubrick's masterpiece, based on the subject of Arthur C. Clarke. A touching film, only apparently attributable to the science fiction genre, but with a great emotional impact precisely because of the topicality of the issues addressed. Condition: Minor defects and wear and tear.
Group of 4 travel coupons of Kubrick’s trip to England on the famous Queen Mary Cunard Lines ocean liner, dated '7/21/1965'. On two of the coupons is also specified the first address of the film director in the United Kingdom, the Hotel Normandie in London. In the lot also another first-class "tag" of a journey undertaken by Kubrick from New York to Southampton with the United States Lines in May 1991, with, in this case, the address of his production company, Hawk Films.
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