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Click here to subscribeMiscellaneous Programmes: A collection of four Chelsea programmes to comprise: Chelsea v. Brentford, 12th December 1936, Division One, fraying around edges, rusty staple, Chelsea v. Arsenal, 1st November 1947, First Division, pages loose, torn and fraying around edges, Chelsea v. Blackpool, 15th March 1958, Division One, 16 pages, good and Chelsea v. Burnley, 22nd October 1960, 16 pages, scores noted, slight rusting, small mark to front cover. (4)
The Glorious Victory of Chastity in Joseph's Hard Conflict, and His Happy Escape by Benjamin Jenks. London, Printed for W. Rogers and B. Tooke, 1707. First edition. 12mo. pp. [x], 127, [i], blank. 4pp. undated advertisements. Contemporary brown sheep. Lacking upper cover and spine, preliminaries and first gathering partially loose.
Observations upon the United Provinces of the Netherlands by Sir William Temple. London, Printed by A. Maxwell for Sa. Gellibrand, 1673. First edition. 8vo. pp. [xiv], 255. Contemporary ownership inscription on front pastedown endpaper. Contemporary full dark brown sheep, raised bands. Occasional brown spots to margins of the text, old sellotape attached to both front and rear hinges, five bands of sellotape around spine.
Introducio ad Prudentiam: or Counsels & Cautions, Tending to Prudent Management of Affairs in Common Life compiled by Thomas Fuller. London, Printed for J. Wyat, and W. and J. Innys, MDCCXXVI [1726]. Second edition. 12mo. pp. xviij, 242. 2pp. undated advertisements. Contemporary ink ownership inscriptions on title-page and first page of the text and on front pastedown endpaper. Contemporary full brown sheep, red leather label lettered gilt on spine. Pencil markings in the text, and reference notes written in pencil and ink on endpapers, upper joint starting to crack, but holding firm, spine and corners rubbed, covers a little scuffed.
Memoirs of the Bastille. Containing a Full Exposition of the Mysterious Policy and Despotic Oppression of the French Government, in the Interior Administration of that State-Prison. Interspersed with a Variety of Curious Anecdotes. Translated from the French of the Celebrated Mr. Linguet, who was Imprisoned there from September 1780, to May 1782 by Simon Nicolas Henri Linguet. London, Printed for G. Kearsly by T. Spilsbury, 1783. First English edition. 12mo, bound in fours. In two parts. pp. iv, 114; 162. Contemporary ownership inscription on title page. Contemporary full mottled calf, gilt decorated spine, black leather label lettered gilt. Spine and joints rubbed, crease marks to covers, upper cover darkened at fore-edge, remains of book plate on front pastedown endpaper. Lacking pages 17, 18, 23 and 24 from the first part.
Great Inventors: The Sources of Their Usefulness, and the Results of Their Efforts. Profusely Illustrated. Anonymous. London and New York, Ward, Lock and Co., N.D. [1864]. First edition. 8vo. pp. xii, 308. Frontispiece. Illustrations in the text. Contemporary half green calf with gilt ruled edges, green cloth, raised bands, gilt decorated spine, red leather label lettered gilt, all edges marbled. School Prize book plate of C. Strickland dated 1894 on front pastedown endpaper. Book label of Grocott & Sherry, Grahamstown on rear pastedown endpaper. Spine, joints and corners rubbed, a few scuff marks to calf resulting in slight loss.
Letters on the Study and Use of History. [To which are added, Two other Letters, and Reflections upon Exile] by Henry St. John, Lord Viscount Bolingbroke. London, A. Millar, MDCCLII [1752]. First edition. Two volumes. 8vo. pp. [iv], 315; 68 [i.e. 286], [iv], contents. Contemporary full tan calf, raised bands, gilt decorated spines, red leather labels lettered gilt on spines. Edges and joints rubbed, some staining to fore-edges, calf a little marked and scuffed.
Dialogues of the Dead by George Lyttelton, Baron. London, Printed for W. Sandby, MDCCLX [1760]. An early edition, published the same year as the first, with the decorative headpiece to page iii representing a globe in the centre (the first publication had a pedestal). 8vo. pp. xii, 320. Contemporary full tan calf, raised bands, gilt decorated spine, red leather label lettered gilt on spine. Armorial bookplate of Sir George Strickland (1729-1808) owner of Boynton Hall, Yorkshire. The book was printed by Samuel Richardson and part of it [Nos. 26-28] was written by Elizabeth Montagu. pp. iii-vi loose, two small tears to title-page, edges, joints and upper cover a little rubbed and scuffed.
The History of Ireland; from the Earliest Authentic Accounts to the Year 1171: since Which Period it has been annexed to the Crown of England with a preliminary Dissertation of the Ancient and present State and Condition of that Kingdom by Ferdinando Warner. Dublin, Printed for James Williams, MDCCLXX [1770]. First edition. Two volumes. 8vo. xxvi, 308, [ii] adverts; [ii], 332. Contemporary handwritten description of the author's previous works on verso of preliminary. Contemporary full tan calf, raised bands, gilt decorated spines, red leather labels lettered gilt on spines. Edges and joints a little rubbed, covers slightly marked.
An Historical Account of English Money, from the Conquest, to the Present Time; including those of Scotland, from the Union of the two Kingdoms in King James I by Stephen Martin-Leake. London, Printed for W. Meadows, MDCCXLV [1745]. Second edition with great additions and improvements, tables of gold and silver money, and six new cuts. 8vo. pp. viii, 428, [viii], tables, [xii], index. Followed by 8 illustrations, first series and 6 illustrations, second series. Armorial bookplate of Sir William Strickland of Boynton, Yorkshire upside down on rear pastedown endpaper. Occasional pencil corrections in the text. Contemporary brown calf, raised bands, red leather label lettered gilt on spine. Front free endpaper loose, covers extremely rubbed, spine worn and rubbed mainly at head and foot.
An Historical Discourse of the Uniformity of the Government of England. The First Part. From the first Times till the Reign of Edward the third by Nathaniel Bacon. London, Printed for Matthew Walbanke, 1647. Small 4to. pp. [x], 323, [xi], table, [i], blank. Bound with: The Continuation of an Historical Discourse of the Government of England, Until the end of the Reign of Queen Elizabeth with a Preface, being a Vindication of the ancient way of Parliaments in England by Nathaniel Bacon. London, Printed for Matthew Walbanke, and Henry Twyford, 1651. pp. [xxii], 307, [i], blank, [viii], table. Contemporary full leather, raised bands. Contemporary inscription on verso of front free endpaper. Spine worn with some loss at head and foot, joints cracking, but holding firm, covers worn and rubbed.
Tables of Ancient Coins, Weights and Measures, Explain'd and Exemplify'd in several Dissertations by [John Arbuthnot]. London, Printed for J. Tonson, MDCCXXVII [1727]. First edition. 4to. pp. [xiv], 327. 18 tables, one folding. Contemporary full brown calf with gilt ruled borders and blind stamped decorative design, raised bands, gilt decorated spine, red leather label. Covers rubbed and scuffed, gilt lettering no longer evident, gilt decoration on spine partially rubbed away, front free endpaper loose, small stain to rear endpapers.
An Impartial History of the Rebellion and Civil Wars in England during the reign of King Charles the First. With the precedent passages and actions that contributed thereto, and the happy end and conclusion thereof by the restoration of King Charles II. Faithfully collected from Clarendon, Bishop Kennet, Echard, Rushworth and other writers by Jacob Hooper. London, Printed, and sold by all the Booksellers in Town and Country, 1738. 4to. pp. iv, 628. Frontispiece. 24 illustrations (probably incomplete). Contemporary full brown calf, raised bands, leather label. Brown spotting and stains affecting a few leaves, upper cover, front and rear free endpaper and frontispiece loose, rear cover barely attached, gilt on title worn away, worn with loss at foot of spine, frontispiece creased and torn with slight loss to margins.
The Mystery Book edited by H. Douglas Thomson. London, Odhams Press Ltd., 1934. First edition. 8vo. pp. 1086. Frontispiece. 16 illustrations. Includes detective and supernatural stories. Original black morocco cloth with pictorial design on upper cover, top edge red. Contemporary ownership inscription on front pastedown endpaper. Upper joint split, nicked at head and foot of spine, various marks/spotting to lower cover.
A Popular History of The Great War. Complete set in original binding. J.A. Hammerton (ED). Published by Fleetway House (1933). Hardback/used/First Edition. 6 Vols. Approximately 800 photographs and 100 maps and diagrams in the text. Red cloth, lettered in black. Spines are faded. Clean copies. Each volume contains a diary of events. Volume l: The First Phase 1914, Volume ll: Extension of The Struggle 1915, Volume lll: The Allies at Bay 1916, Volume lV: A Year of Attrition 1917, Volume V: The Year Victory 1918, Volume Vl The Armistice and After.
Surrey Woking third class railway ticket stamped no 11 omd & dou 8 jan 1948 Aldershot-Surrey Woking "Hart Hill" inventory and Valuation from W F Hunt to Thomas R Gabrial; also property particulars details of dilapidations; and costs-Surrey Woking 1898 Anthony George New Engineer application for invention "improvements to reciprocating engines" includes drawing-Surrey Woking County School for Girls 1923-1944 twenty-first birthday celebrations programme-Oxford St Aldates "The Old Wheatsheaf"1912 June 13th valuation of trade utensils & furniture; also valuation of additional items added by Mr H W Caldalet since taking over premises- also 5 others
Louis le Brocquy HRHA (1916-2012) NO LEMON, 1974 Intaglio print on paper; (from an edition of 75) signed and with dedication in pencil in the margin lower centre The present print pertains to the artist's first collaboration with the Maeght workshops in France: Seven Aquatints, published by Maeght Editeur, Paris, including Image in Darkness, Mycenean Gold Mask, Image Forming on a Red Background, Lemon, on Arches paper, 66 by 50.5 cm, printed in an edition of 75 by Atelier Maeght, St. Paul, France. For two other examples from this series see lots 100 & 101. 6 by 6.75in. (15.2 by 17.1cm)
Rory Breslin (b.1963) WILLIAM BUTLER YEATS, 2014 bronze; (no. 2 from an edition of 5) signed on left side The first example from this edition can be found in The Academy of Letters in New Dehli. It was presented by Minister for Foreign Affairs and Trade, Mr Charlie Flanagan, to the Indian Ambassador as a reciprocal gesture for the bust of Yeats' friend, Rabindranath Tagore (1861-1941), the Indian National poet and Nobel Laureate installed in St. Stephen's Green 2011. The bust is modelled on the series of photographs by George Charles Beresford taken in July 1911 - a pivotal year for Yeats - who worked as a photographic portraitist in Knightsbridge, London. Academics contend that Yeats' work post-1911 was strongly influenced by Ezra Pound - who he met that year - becoming more Modern in its concision and imagery. 1911 was also the year he met his future wife "Georgie" Hyde Lees and accompanied the Abbey Players on tour in the USA. 24.25 by 19.50 by 11.50in. (61.6 by 49.5 by 29.2cm)
Arthur David McCormick RBA RI ROI (1860-1943) DRAKE AND FROBISHER DISCUSSING PLANS TO FOIL THE SPANISH ARMADA [1587] 1941 oil on canvas signed and dated lower right; titled on reverse Langlois, UK, 17 May 1995, lot 199;Private collection McCormick was born in Coleraine and studied at the Government School of Design, Belfast. He later travelled to London working with the Illustrated London News among other publications. In 1889, from Trafalgar Studios, McCormick exhibited for the first time with the Royal Academy, London. This would be the beginning of a 30-year relationship with the institution. Snoddy records the artist's address from 1895 as 58 Queen's Road, St. John's Wood; the artist resided at this address for over 40 years. The theme of pirates began to appear in the oeuvre at the turn of the century and the RA index of exhibitors lists two such works shown with them in 1903 and 1904. Among the artist's best-known commissions was the iconic sailor's head and shoulders on the cigarette packets for tobacco manufacturers, John Player & Son in 1927. His works can be found in the Victoria & Albert Museum, Imperial War Museum and the Borough Council, Coleraine among others. For further reading see Snoddy p.370-372. 20 by 28in. (50.8 by 71.1cm)
Mark O'Neill (b.1963) DRAWING ROOM OF A HOUSE IN HOLLAND PARK, LONDON, 1998 oil on board signed and dated lower right Commissioned for the Collection of Number 10, Lower Ormond Quay, Dublin;Whyte's, 28 November 2006 lot 164;Private collection Mark O'Neill lives and works in County Wexford and is celebrated for his appealing style and wide ranging subject matter which ranges from interiors and still lifes to landscapes, animal portraits and genre scenes. O'Neill lived all over the world during his childhood from Mauritius to South Africa, Nigeria and Malta before settling in London where he studied at the Kingston College of Art. After graduating with a first class Honours Degree in Fine Art he found success as an illustrator for numerous publications. However, he later moved to Ireland - his maternal family home - and pursued his passion as a painter. Sell-out shows soon followed with the Forge Gallery in County Louth and the Frederick Gallery, Dublin among others. Since his first appearance on the auction scene in the 1990s O'Neill has become one of the most popular and enduring contemporary artists to attract bidders both in Ireland and internationally. 38 by 46in. (96.5 by 116.8cm)
Eileen Reid (1894-1981) VENICE, 1925 oil on canvas signed under her maiden name [Oulton] and dated on reverse 'Irish Women Artists 1870-1970 - Summer Loan Exhibition', 8-31 July, Adam's, Dublin & 7 August to 5 September, Ava Gallery, Clandeboye, Co. Down, catalogue no. 62 Born Eileen Oulton, she lived most of her life at 19 Upper Mount Street, Dublin. Interested in both art and music, she studied first at the Royal Irish Academy of Music and later at the RA School of Art in London. Her early paintings show the influence of Sir William Orpen who was a friend of the family. She married Harry Reid in 1923 but was widowed within a year, and soon afterwards abandoned oil painting in favour of watercolours. She was secretary of the WCSI for over 30 years, allowing administrative work to come before her own art. A retrospective of works remaining in her studio was held after her death in 1984. 18 by 14in. (45.7 by 35.6cm)
Sir John Lavery RA RSA RHA (1856-1941) EVENING, MONTREUX oil on canvas board signed lower right; signed again and titled [Evening] on reverse; with typed exhibition label of Romney Galleries, Bradford on reverse; also with inscribed artist's label on reverse with Romney Galleries, Bradford; Anonymous sale; Phillips, London, 8 June 1999, lot 92; Private collection Romney Galleries, Bradford, exhibition no. 351 (catalogue untraced) Kenneth McConkey, John Lavery, A Painter and his World, 2010 (Atelier Books), pp. 163, 164 (illustrated) Having had a memorable winter stay at Wengen in 1912-1913, the Laverys were keen to return to the Swiss Alps after the Great War. Accordingly, on 12 December 1923 they arrived in Montreux and checked-in at the Palace Hotel. As always on 'holidays', the painter packed his painting kit and, liberated from the studio, with great gusto, produced landscapes of the spa and its immediate environs. The present view of the Lake of Geneva (Lac Léman), with the twinkling lights of the town off to the left, justly represents the exceptional character of the setting. Elsewhere, in Twilight, Lake of Geneva, 1924 (fig 1), Lavery was to abandon the town entirely for an aerial view of the lake and mountains looking towards the mouth of the Rhône and rising foothills of Mont Blanc. Sheltered from the cold Rise, or north wind, the town was commended by Baedeker to 'persons with delicate lungs' as a winter residence. In a diary given to him as a Christmas present by his wife, Hazel, he notes that he was instructed by his doctor not to climb above 3,000 feet because it would be 'too much' for his blood pressure. He ignored the advice and every other day went up to Caux to paint what he described as 'the airman's view'. Lavery's interest in getting above the clouds was the after-effect of several momentous flights he took as an Official War Artist. On one occasion in Switzerland, the Laverys were joined by his daughter Eileen, and her husband, the Master of Sempill. With Lord Sempill, a skilled aviator, Lavery took to the air and flew over the mountains and the lake, commemorating the event in a small canvas (Private Collection). Montreux, which from the time of Byron and Shelley attracted writers and artists, in the inter-war period boasted Hemingway, Scott Fitzgerald, Joyce and Anna de Noailles amongst its visitors. In the aftermath of war, its sanatoria, perched on the hills at Glion and Caux, practising avant-garde health-cures were also popular. With its casino, the first in Switzerland, and its splendid location at the eastern extremity of Lake Geneva, it lay at the centre of what became known as the 'Swiss Riviera'. Reviewed by Kenneth McConkey on behalf of Fighting Words October 2017 20 by 24in. (50.8 by 61cm)
Jack Butler Yeats RHA (1871-1957) THE DODDER IN FLOOD, BALLSBRIDGE, DUBLIN, 1929 oil on panel signed lower left; titled on reverse Mrs Bernard Shaw (purchased at the Alpine Club Gallery exhibition, 1929);Acquired by Alice Bernrard (née McKay), Dublin;Sotheby's, 21 October 2015, lot 42;Private collection 'Paintings', Alpine Club Gallery, London, 6 - 23 February 1929, catalogue no. 7 Hilary Pyle, Jack Butler Yeats, A Catalogue Raisonné of the Oil Paintings, Vol. I., Andre Deutsch, London, 1992, no.385, p.352 (incorrectly illustrated) Jack Yeats painted the Dodder in Flood in 1929, the period in which his style was changing from its early Realist mode to the later more experimental approach. This transitional work belongs firmly to the later style. The artist had first painted the subject of the Dodder in flood in 1920, (A Yellow Flood, Clonskea, 1920). In 1923 he painted two other views of the weir on the river at Clonskeagh when he lived nearby on Marlborough Road in Donnybrook. Dodder in Flood, painted in the year that Yeats reluctantly moved to Fitzwilliam Square, is a view of the river from Ballsbridge according to an inscription on the rear of the frame. Dodder in Flood takes a different perspective from the earlier more conventional views of the river that include buildings and landmarks on its banks. This painting must be based on a view from a bridge over the torrent looking westwards as it races towards the sea. Unlike the diagonals and subtle connections that Yeats provides in many of his other landscape compositions, the foreground of Dodder in Flood is left open so that the water appears to flow directly out into the space of the viewer. A dramatic scene is made from what is a comparatively modest body of water but as Dubliners are aware the Dodder can be treacherous during winter storms and floods. Steep inhospitable banks enclose its sides. Their stony barren surfaces are conveyed through the application of thick grey and white paint in a variety of incongruous brushstrokes that create a rough dynamic texture, particularly on the exposed bank on the right-hand side. The sky is completely overcast with a dark stormy hue. The thick debris filled currents are painted in strong impasto brushstrokes that contain blues, pinks, yellows and reds. Elsewhere the paint is thinly applied and parts of the underlying surface of the board are visible. On the left-hand bank warm greens and reds suggest foliage and provide a glimmer of light in the painting. Although rivers and fast flowing currents feature prominently in many of Yeats' paintings the Spartan nature of this composition with its concentration on the bare elements of banks, river and sky is unusual in his oeuvre. The work approaches pure abstraction is its prioritising of paint and form. The painting was exhibited at Yeats' one-man show at the Alpine Club Gallery in London in 1929 when it was purchased by Mrs George Bernard Shaw. Yeats told Lady Gregory that Mrs Shaw had thought he had 'gone mad' when she saw his work the previous year but now retracted her statement. Her husband, George Bernard Shaw, and T.E. Lawrence (of Arabia), also visited the exhibition. (1) Arguably London audiences were more receptive to Yeats' late style of painting although the Dublin public would soon come to admire his pioneering attitude towards his craft and its ability to transform familiar sights into challenging works of art. We are also grateful to Dr. Hilary Pyle HRHA for her assistance in cataloguing this work.1. Hilary Pyle, Jack B. Yeats. A Biography, Routledge and Kegan Paul, London, 1970, p.137. Dr Róisín KennedyOctober 2017 9 by 14in. (22.9 by 35.6cm)
Rosaleen Brigid Ganly HRHA (1909-2002) NUDE, 1951 oil on canvas laid on board signed in monogram and dated lower right; with inscribed artist's label on reverse; also with artist's retrospective exhibition label on reverse Collection of a Ms Elizabeth Guinness, 1986;Private collection 'Brigid Ganly Retrospective Exhibition', Hugh Lane Municipal Gallery of Modern Art, Dublin, 24 April to 11 May 1998;'Irish Women Artists 1870-1970 - Summer Loan Exhibition', 8-31 July, Adam's, Dublin & 7 August to 5 September, Ava Gallery, Clandeboye, Co. Down, catalogue no. 94 Eds. Christina Kennedy and Mamie Winters, 'Brigid Ganly Retrospective Exhibition', Hugh Lane Municipal Gallery of Modern Art, Dublin, 1998, p.21 (illustrated) The Gorry Gallery hosted a retrospective of the artist's work in 1987 and later there followed a retrospective in the Hugh Lane Municipal Gallery in 1998. Brigid Ganly (neé O'Brien) was the daughter of RHA past president Dermod O'Brien and sister-in-law to Kitty Wilmer O'Brien. Born in Limerick but raised in Fitzwilliam Square, Dublin, Ganly entered the Metropolitan School of Art in 1925 where she studied painting under Seán Keating and Patrick Tuohy and sculpture under Oliver Sheppard. Her first exhibit with the RHA was in 1928 and she was elected Associate of the RHA the same year. Although she was an accomplished sculptor (she won the California Gold Medal for the Taylor Scholarship in 1929) it was in painting where she focused her talents. In 1930 she won the Taylor Scholarship and three years later travelled to Italy taking a studio in Florence for six months. In 1935 Ganly had her first solo show with the Dublin Painters Gallery, was elected a full member of the RHA and completed her first commission for All Saints Church, Blackrock. The following year she married Andrew Ganly, B.D.S. The period between the mid 1940s and early 1950s Ganly exhibited with Kitty Wilmer in Dublin, travelled to America to execute portrait commissions and represented Ireland in an Exhibition of Contemporary Irish Painting. Later she travelled to Paris to study briefly under André Lhote. On return to Ireland a solo show took place at the Dawson Gallery (1965) and by the late 1960s her conflicting attitudes with RHA on the matter of the Modern school of painting and the 'Living Art' group of artists" led to her resignation from the Academy (1969). She was made an Honorary member of the RHA in 1972. Ganly continued to show work nationally during the 1970s and 1980s and a retrospective exhibition was held in the Gorry Gallery, Dublin in 1987 and later at the Hugh Lane Municipal Gallery in 1998. Her work can be found in the collection of the Hugh Lane, Crawford Gallery, Cork and the National Self Portrait Collection among others. 21 by 18in. (53.3 by 45.7cm)
Kenneth Mahood (b.1930) WAGON AND MOONLIGHT, 1955 oil on board signed lower right; with title and dated on reverse; with Frederick Gallery exhibition label on reverse Frederick Gallery, Dublin;Private collection 'Spring Exhibition of Irish Art', Frederick Gallery, Dublin, 8 -26 March 1999, no. 42 The Frederick Gallery exhibition catalogue accompanies this lot. Kenneth Mahood was born in Belfast in 1930. From 1945 to 1949 he was an apprentice lithographer before becoming a professional painter. He exhibited in Belfast, London and Dublin and won a CEMA scholarship to study art in Paris. In 1955 Victor Waddington held a solo show of his work and in 1956 in London he exhibited in a two-man show with Jack B. Yeats. His first cartoon was accepted by Punch when he was eighteen, and he later became not only a regular contributor but also, from 1960 to 1965, the magazine's Assistant Art Editor under William Hewison. In 1966 Mahood became the first-ever political cartoonist on The Times, and in the same year was a founder member of the British Cartoonists' Association. He left The Times at the end of 1968, but at the start of 1969 began working as a cartoonist for the Evening Standard. In 1971 he went to the Financial Times. In 1978 he was elected to the Punch Table, and in 1982 he moved to the Daily Mail to draw its "Compact Cartoon". Mahood has also contributed drawings to the New Yorker, produced a number of books and worked in collage. 12 by 20in. (30.5 by 50.8cm)
Kenneth Mahood (b.1930) GREEN LANDSCAPE oil on board signed lower right; titled on original label preserved on reverse Kenneth Mahood was born in Belfast in 1930. From 1945 to 1949 he was an apprentice lithographer before becoming a professional painter. He exhibited in Belfast, London and Dublin and won a CEMA scholarship to study art in Paris. In 1955 Victor Waddington held a solo show of his work and in 1956 in London he exhibited in a two-man show with Jack B. Yeats. His first cartoon was accepted by Punch when he was eighteen, and he later became not only a regular contributor but also, from 1960 to 1965, the magazine's Assistant Art Editor under William Hewison. In 1966 Mahood became the first-ever political cartoonist on The Times, and in the same year was a founder member of the British Cartoonists' Association. He left The Times at the end of 1968, but at the start of 1969 began working as a cartoonist for the Evening Standard. In 1971 he went to the Financial Times. In 1978 he was elected to the Punch Table, and in 1982 he moved to the Daily Mail to draw its "Compact Cartoon". Mahood has also contributed drawings to the New Yorker, produced a number of books and worked in collage. 13 by 23.50in. (33 by 59.7cm)
Kenneth Mahood (b.1930) HARBOUR, RED AND YELLOW oil and mixed media on board with original Waddington Galleries exhibition label on reverse; also with Frederick Gallery exhibition label on reverse Waddington Galleries, London;Where purchased by a Mr Patrick Hall Esq.;with Frederick Gallery, Dublin;Private collection Waddington Galleries, London, September, 1958, no. 18;''Spring Exhibition', Frederick Gallery, Dublin, 2001, no. 43 Kenneth Mahood was born in Belfast in 1930. From 1945 to 1949 he was an apprentice lithographer before becoming a professional painter. He exhibited in Belfast, London and Dublin and won a CEMA scholarship to study art in Paris. In 1955 Victor Waddington held a solo show of his work and in 1956 in London he exhibited in a two-man show with Jack B. Yeats. His first cartoon was accepted by Punch when he was eighteen, and he later became not only a regular contributor but also, from 1960 to 1965, the magazine's Assistant Art Editor under William Hewison. In 1966 Mahood became the first-ever political cartoonist on The Times, and in the same year was a founder member of the British Cartoonists' Association. He left The Times at the end of 1968, but at the start of 1969 began working as a cartoonist for the Evening Standard. In 1971 he went to the Financial Times. In 1978 he was elected to the Punch Table, and in 1982 he moved to the Daily Mail to draw its "Compact Cartoon". Mahood has also contributed drawings to the New Yorker, produced a number of books and worked in collage. 8 by 23.50in. (20.3 by 59.7cm)
Louis le Brocquy HRHA (1916-2012) PEONY, 1991 oil on canvas signed, titled, dated and with artist's archival number [588] on reverse Hillsboro Fine Art, Dublin, where purchased by the present owner, circa1997 10 by 12in. (25.4 by 30.5cm) Presented in the original frame chosen by the artist's wife, Anne Madden. A letter from the artist to the present owner accompanies this lot. "…I feel very humble on receiving your wonderful letter…, for it is rare for an artist to be given to feel that his occasional glimpses of spiritual insight have somehow managed to move another person. Thank you. In fact your painting was inspired by a small work by Édouard Manet [French Realist and Impressionist painter, 1832-1883] which I believe I first saw at The Orangerie in the Paris of 1938! Yes, the frame was something of a challenge in itself and in painting your Peony I certainly had it in mind. A second related painting I gave my wife, Anne Madden in memory of her peony which had last bloomed during the previous summer…" Louis le Brocquy Les Combes, Carros, France 23 January 2000 Most le Brocquy paintings are palimpsests, one layer folds over another and provide different vantage points from which to view. As the title suggests this is a peony. Such flowers thrive around the Mediterranean in springtime or early summer, ranging in colour from deep purple to pure white. Mythologically, they are named for Paeon, student of Asclepius, Greek God of healing. The master became jealous of his protégé, who, for his own safety, was turned by Zeus into a flower. In Asia the Peony is valued more for the healing properties of its seeds than the beauty of its appearance. Everything depends upon the eye of the beholder. le Brocquy's wife, Anne, an illustrious painter in her own right, had grown this peony in her garden. It was the last of them. He painted it in homage to her. And so, at another level again, this peony is transfused with love. A delicate eroticism pervades its fragrance comparable to his later 1998 series of watercolours titled 'Being,' where the human body is an organism in flower. At the painterly level, Peony was sparked by a viewing, half a century previously, of Édouard Manet, who supposedly invented 'Modernity,' at the Orangerie in Paris in 1938. Manet grew peonies in his garden at Gennevilliers. It was his favourite flower. Those deep lobes and varied hues corresponded to his subtle harmonics. But Manet was his own man where convention and tradition were concerned. Modernity for him was as much a question of choosing as resisting influences from the past: he painted as things were and without much concern for established practice of brushstroke or perspective. In his wake, this is a le Brocquy as much as it is a Peony. Finally, the painting reveals a world through the petals of a flower. As Empress Michiko of Japan would say to the artist in January of the year after the painting was completed: 'I think you are trying to reach something behind and beyond, which goes to the essence.' This Peony brings in its train a swarming teeming underground metropolis. Dom Mark Patrick Hederman, OSB October 2017 Former Abbot of Glenstal Abbey, Co. Limerick, Hederman was among those Louis le Brocquy choose to speak at his funeral service at St. Patrick's Catherdral in 2012.
Philip Kelly (1950-2010) BAR, SLIGO / MEXICO [CONNOLLY'S] 2005 oil on canvas signed, titled and dated on reverse "Colourful, exuberant painter with a passion for Mexico" is how Phil Kelly was described in his obituary in the Irish Times on 7 August 2010 while The Guardian noted, "an extraordinary and gifted painter… [whose work] captured the imagination of collectors and supporters worldwide, including the poet Seamus Heaney, for whose wife, Marie, he completed a set of book illustrations, and the chef Rick Stein, for whose Seafood Restaurant in Padstow, Cornwall, Phil created a mural."Although raised in Ireland and England, Kelly lived in Mexico City from 1989 and became a Mexican citizen in 1999. Three years previously an exhibition entitled Babel Descifrada, devoted to the work of Kelly, was held at the Museum of Modern Art in Mexico. Later in Ireland, in 1997, the Frederick Gallery hosted an exhibition of his work, followed by a show at Hillsboro Fine Art in Dublin. According to the Times, "…in the 1990s, Kelly played the role of Ireland's unofficial cultural attaché in Mexico. The then Mexican ambassador to Ireland, Daniel Dultzin, routinely suggested that Irish visitors call on him. A formidable number did and enjoyed the experience. They included President Mary McAleese during her first term, Seamus Heaney, Síle de Valera, Robert Ballagh, broadcaster Rodney Rice, painter Philippa Bayliss and many more." 19.75 by 23.75in. (50.2 by 60.3cm)
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