Galway's First All-Ireland Junior Title, 1939Medal G.A.A.: Hurling, Galway 1939, an attractive Celtic Cross design 9ct gold Medal, the obverse with pierced centre and decorated in typical style, inscribed "Eire" across the centre and "Cumann Luith Chleas Gaedhael" around the surround, the reverse inscribed "Craobh Iomana na hEireann Soisear 1939 - Gallimh a Buaidh," hallmarked J.M. (John Miller); together with a Connaught Provisional 9ct gold Winners Medal, the shield shaped design with a pierced centre depicting the Provincial coat of arms and inscribed on obverse "Craobh Connact," the reverse "Iomana Soisear 1939 - Gaillimh" hallmarked J.M. (John Miller) good condition, a rare set. (2)* This was Galway's first of two titles in this competition.
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![The Paddy O'Brien G.A.A. Collection (Cork)Medals: G.A.A., Co. Cork; Nils Desperandum G.P.O. F.C. & G.A.A., [Paddy O'Brien] a](https://cdn.globalauctionplatform.com/a1235de0-ae2f-4b31-9734-a76000fab544/c2b9cc9f-204c-46f5-dc88-89bd746c6b1a/468x382.jpg)
The Paddy O'Brien G.A.A. Collection (Cork)Medals: G.A.A., Co. Cork; Nils Desperandum G.P.O. F.C. & G.A.A., [Paddy O'Brien] a collection of five silver Medals & Cap to include:1. G.A.A. "Wm. O'Brien F.C. Championship Tournament," 1901, the star shaped medal inscribed "won by Nils - P. O'Brien," hallmarked - Egan, Cork;2. G.A.G. "Cork National Monument Tournament 1902 - 03," the pierced design with engraved national monument, hallmarked - Egan, Cork;3. G.A.A. "Coachford Tournament 1903 - won by Nils F.C.," the engraved and pierced designs hallmarked - Egan, cork;4. G.A.A. "Nils - Blackrock Tournament 1904 - won by Nils, the pierced design with typical Celtic motifs harp, high cross, round tower, etc., hallmarked O'C & Co. (O'Callaghan & Co.);5. G.A.A. "Cork, Junior cup - won by G.P.O., F.C., 1903 - 04, the pierced design with Celtic motifs, hallmarked - Egan, Cork; together with the associated red velvet, and gold thread embroidered Cap.As a collection, w.a.f. (1)* Nils Desperandum F.C. was a sporting club in Cork, Ireland. When it was founded it was mainly a rugby club. In 1888, after "some years" of playing rugby "Nils," as they were known, played their first Gaelic football game.Within a few years Nils was one of the strongest Gaelic Athletic Association clubs in Cork. It had a headquarters on Marlboro Street and was largely represented by West Cork men who had come to the city to work. After winning the Cork Senior Football Championship in 1894, Nils went on to represent Cork in the controversial All-Ireland Senior Football Championship of 1894.
Laois First All-Ireland Title1915 All-Ireland Hurling MedalMedal: G.A.A. Hurling 1915 An attractive 9ct gold medal of Celtic Cross design, the obverse with pierced centre and harp overlay, inscribed around "Cumann na gCleas - Luith Gaedhealach" and "Eire," across, the reverse inscribed "All-Ireland C'Ship won by Leix, 1915", hallmarked H. & H. (Hopkins & Hopkins). Scarce. (1)* The 1915 championship was the 29th year of the competition. Having been beaten by Clare the previous year on a scoreline of 5-1 to 1.0, the Laois men gathered their thoughts and regrouped to reach another final. Under the Captaincy of Jack Finlay, they beat the Lee-siders on October 24th, 1915 claiming their first and only Title, winning 6.2 to 4.1.
Wexford's First All-Ireland TitleG.A.A. - Hurling 1955, Official Programme, All-Ireland Hurling Final, Galway v. Wexford, at Croke Park, 4/9/55, 8vo, D. 1955, 20pps., illus. & adverts throughout, ptd. wrappers, good.* This was Wexford's 7th attempt at the title, and proved successful as they triumphed over the Tribesmen 3.13 to 2.8.
The Breffini Boys' First All-IrelandCavan Versus Galway, 1933G.A.A.: Football, 1933, Clar Oifigeamhaul, Cavan V. Galway, 24.9.1933, [Antrim V. Kerry (minors)], 8vo, D. (Wood Printers) 1933, 2pps, ptd. wrappers. Ex. Scarce. (1)* In the 47th year of the competition, Cavan won their First All-Ireland title beating Galway 2.5 to 1.4 at Croke Park in front of a crowd of 45,188 spectators.
![[Beckett (Samuel) and others] Our Exagmination Round His Factification For Incamination of Work In Progress. By Samuel Beck](https://cdn.globalauctionplatform.com/a1235de0-ae2f-4b31-9734-a76000fab544/8270d5c6-6282-4850-9e70-2d183ad88b87/468x382.jpg)
[Beckett (Samuel) and others] Our Exagmination Round His Factification For Incamination of Work In Progress. By Samuel Beckett, Eugene Jolas, Robert McAlmon, John Rodker, William Carlos Williams etc., with Letters of Protest by G.V.L. Slingsby and Vladimir Dixon. Shakespeare & Co., Sylvia Beech, 1929. First, rebound in a plain cloth binding. Includes several essays quoting from Joyce's Work In Progress, and a short passage on p. 109 about Swift and blindness which was not included in Finnegans Wake (cf. Wade B11). (1)The Letters of Protest are said to have been written by Joyce.
Beckett (Samuel). Comment C'Est, Roman. Paris, Les Editions de Minuit 1961, wrs, possibly the first unlimited issue, profusely inscribed by a previous owner. With three other Beckett titles in French, Fin de Partie, Paris 1957; La Derniere Bande, Paris 1959; & Oh les Beaux Jours, Paris 1963, all in wrappers. (4)
First English & American EditionsO'Brien (Flann) The Hard Life, An Exegesis of Squalor, 8vo L. (Macgibbon & Kee) 1961, First Edn., red boards lettered in gilt & orig. d.j. designed by Sean O'Sullivan. very good copy save for some spotting on fore-edge; also First American Edn., of same N.Y. (Pantheon Books) 1962, cloth backed green boards, & orig. pict. d.w.; together wtih Second English Edition, London (Hart-Davis, MacGibbon) 1973, black boards & orig. d.w. A Scarce Collection in fine condition. (3)
TOMATIN 1964 AGED 12 YEARS Active. Tomatin, Inverness-shire. Mature in cask 8552, bottled to celebrate the first millionth gallon produced by a single distilery in one season. 26 2/3 fl.oz., 99° proof. TOMATIN JOHN MCDONALD RETIRAL CELEBRATION AGED 12 YEARS Active. Tomatin, Inverness-shire. Bottled to celebrate the retirement of managing director John McDonald, 70cl, 43% volume. 2 bottles.` CONDITION REPORT: Fill level of Tomatin slightly above label, viewing recommended
Kenneth Webb RWA FRSA RUA (b.1927) UISCE GORM oil on canvas signed lower right; titled on reverse Kenny Gallery, Galway;Private collection;Whyte's, 28 November 2011, lot 157;Private collection Kenny Gallery, Galway, c.1990 This work has been dated to c.1990 to an exhibition in the Kenny Gallery, Galway. The location depicted is adjacent to the artist’s house in Connemara. This same area of land was used as the siting point for where Alcock and Brown landed on the first non-stop transatlantic flight in June 1919. We are grateful to the artist for his assistance in cataloguing this lot.An exhibition celebrating Kenneth Webb's 90th birthday will be held at Gladwell & Patterson's gallery, London from 12 May to 12 June 2017. An exhibition of works by Kenneth and Susan Webb will take place in Kenny's Gallery, Galway, from 21 July to September 2017. 20 by 60.50in. (50.8 by 153.7cm)
Charles Harper RHA (b.1943) RACE TO THE END, 2006 oil on canvas signed and dated lower right; signed, titled and dated on reverse Charles Harper was born on Valencia Island Co. Kerry in 1943. He studied art at Limerick School of Art and the National College of Art in Dublin as well as filmmaking in Bonn, Germany. He exhibits regularly in Ireland and abroad. Harper primarily uses a metaphoric approach to painting using such motifs as the boat, angels, balance, landscape, and the figure. He has represented Ireland many times abroad in such countries as India, Switzerland, Italy, Latvia, England, France, the US and Sweden. He has received eight National Awards for his painting, including First prize for Painting commemorating the 1916 Rising at the Municipal Gallery of Modern Art, Dublin, The Carrols Open Award at the Irish Exhibition of Living Art in 1971, the Arts Councils Bonn an Uachtarain de Hide at The Oireachtas Art Exhibition. His work is included in many important public and private collections including the Irish Museum of Modern Art and the San Francisco Museum of Modern Art to name a few. He was a lecturer at Limerick School of Art and Design (LIT), now retired. He is a founder member of Aosdána and a member of the RHA since 2002. 39.50 by 39.50in. (100.3 by 100.3cm)
![Arthur David McCormick RBA RI ROI (1860-1943) SHOWING HIS TREASURES watercolour signed lower right; with Maple & Co [London]](https://cdn.globalauctionplatform.com/51390001-8539-4292-b0a0-a76a00b092fa/9e1ca02d-14fa-4d8d-e805-c7af24364e59/468x382.jpg)
Arthur David McCormick RBA RI ROI (1860-1943) SHOWING HIS TREASURES watercolour signed lower right; with Maple & Co [London] label on reverse Maple & Co, London;Private collection Arthur David McCormick was born in Coleraine on 14 October 1860. He was a notable illustrator and painter of landscapes, historical scenes, naval subjects, and genre scenes.After education at local schools, McCormick went to London on the same ship with Hugh Thomson, another noted Ulster illustrator. McCormick was educated at the Royal College of Art in 1883–1886, and afterwards worked for The English Illustrated Magazine. He was, in 1892–1893, an artist on Sir Martin Conway's expedition to the Karakoram subrange of the Himalayas and in 1895 was an artist on Clinton T. Dent's expedition to the Caucasus Mountains. His first exhibit at the Royal Academy of Art was in 1889, and through the end of 1904 he exhibited there eleven paintings. In 1927 he painted Head of a Sailor for John Player & Sons for the promotion of Player's Navy Cut cigarettes. The Sailor motif is still in use today on the cigarette packets. 21 by 29.75in. (53.3 by 75.6cm)
Duncan Grant (1885-1978) PORTRAIT OF LINDY GUINNESS, c.1965 oil on board Purchased from Christie's by Jonathan Riley, Emscote Lawn;Private collection, Dublin;Dickon Hall Fine Art, Belfast;Collection of Dr Henry McKee, 1988;Whyte's, 29 September 2008, lot 6;Private collection Francis Spalding, Duncan Grant: A Biography, Chatto and Windus, London, 1997, p.434 Lindy Guinness, also known as Lady Dufferin, was born in 1941, the daughter of Loel Guinness and his second wife, Lady Isabel Manners. She first met Duncan Grant when she was seventeen and was encouraged by him to paint, subsequently studying at Chelsea School of Art and the Slade, and with Oskar Kokoschka in Salzburg. Lindy continued to visit Charleston regularly to paint with Grant until his death in 1978. She and Grant painted each other regularly and she was instrumental in encouraging the important 1964 retrospective exhibition of his work at Wildenstein, London. Lindy Guinness continues to exhibit regularly at the Ava Gallery on the grounds of her home at Clandeboye, Bangor. Duncan Grant was a central figure in the Bloomsbury Group and along with his partner, Vanessa Bell, her sister Virginia Woolf and his brief loves Maynard Keynes and Lytton Strachey, defined the British arts world of the pre-war period. This mantel was taken up by a younger generation of post-war Pop artists, including David Hockney, who was given early support and encouragement from Sheridan Hamilton-Temple-Blackwood, 5th Marquess of Dufferin and Ava, and husband of Lindy Guinness. Lord Dufferin was co-owner of the Kasmin Gallery, which opened in 1963 and showed the works of Hockney and Lucian Freud, who was married briefly to Lord Dufferin’s sister, Caroline Blackwood. After their own marriage in 1964, Lord and Lady Dufferin became central figures of the London art scene in the 1960s. 24 by 20in. (61 by 50.8cm)
Patrick O'Reilly (b.1957) MARIONETTE, 2006 bronze signed and dated on cross Patrick O’Reilly was born in 1957 in Kilkenny. At the age of 17 he studied at the Belfast College of Art, but left after one year. He then pursued his business career while still practising his art privately. The first exhibition of his work took place in 1996 at the Galway Arts Festival. Since then he has exhibited throughout Ireland, England, and Europe with major solo exhibitions in Dublin, Belfast, Berlin, London, Paris, Athens, Vienna, Brussels, Montreal, Marseilles and China.An early installation work was the subject of a solo-exhibition at the Dublin City Gallery The Hugh Lane in 1996 and was aptly titled ‘A Silent Scream’. He subsequently enjoyed successful solo exhibitions with the Mayor Gallery, London, Solomon Gallery, Dublin and Galerie Piltzer in Paris. Public commissions have included Queen Maeve on Burlington Road and the Three Bears outside the Point Village in Dublin. O’Reilly has also collaborated with Galway based performance company Macnas on a number of exciting projects.His work can be found in the collections of Dublin City Gallery The Hugh Lane, AIB Bank, Bank of Ireland and other important public and private collections in Ireland, Europe and America. 45.50 by 34 by 4.50in. (115.6 by 86.4 by 11.4cm)
Hilary Heron (1923-1977) CAESAR, 1949 beechwood; (unique) signed with initials and dated Hilary Heron was born in Dublin and spent her childhood in New Ross, County Wexford, and Coleraine, County Derry. She was educated privately at home and at Ivory's one-teacher school in New Ross. She attended the National College of Art, Dublin, where she won three Taylor Prizes from the Royal Dublin Society (RDS). For sculpture in wood, limestone and marble she was awarded the first Mainie Jellett Memorial Travelling Scholarship in 1947. In the same year, she went to Italy and France to study Romanesque carving. She was instrumental in founding the Irish Exhibition of Living Art, and first exhibited there in 1943. With Louis le Brocquy, she represented Ireland at the Venice Biennale in 1956. In 1950 and 1953 she held two solo exhibitions in Dublin at the Waddington Gallery. In the 1950s she began to work in metal. In 1958 she was commissioned by the Irish government to complete work for an Irish exhibit at New York, and in 1960 her first exhibition in England was shown at the Waddington Galleries in London, where she displayed more than thirty works. One English critic saw her work as assimilating exotic styles with a great feel for nature, remarking that ‘she brings something fresh, diverting, and also very genuine to our inbred world of sculpture’ (Neville Wallis, quoted in Snoddy, p. 253). She travelled in Asia, America and Europe, and her works are in many private and public collections, both in Ireland and overseas, including The Irish Museum of Modern Art. 24 by 10.25 by 4.50in. (61 by 26 by 11.4cm)
Bert Stern (USA, 1929-2013) TWIGGY BEFORE A PAINTING BY BRIDGET RILEY, 1965 large format silver gelatin C print; (no. 5 from an edition of 9) signed lower right; numbered lower left Bert Stern was the son of immigrants and grew up in Brooklyn. His father was a portrait photographer. After dropping out of high school at the age of 16, he started work in the mail room at Look magazine. He worked his way up to become art director at Flair magazine, where he started taking his own pictures. In 1951 Stern was drafted into the army and was sent to Japan where he was assigned to a photographic unit. Stern's first professional assignment was in 1955 for a Madison Avenue advertising agency for Smirnoff vodka. His best-known work is arguably The Last Sitting, a collection of 2,600 photographs taken for Vogue of Marilyn Monroe over a three-day period, six weeks before her death. Stern's book The Last Sitting was published in 1982 and again in 2000. He has photographed Audrey Hepburn, Elizabeth Taylor, Twiggy, Madonna, Kylie Minogue, Drew Barrymore and Lindsay Lohan among others. “Women are everything," Stern is reported to have said, “Man is just a muscle.” Another notable quote from him is “What makes a great model is her need, her desire; and it’s exciting to photograph desire.” 72 by 72in. (182.9 by 182.9cm)
![Mícheál MacLíammóir (1899-1978) FIONGHAL RÓNÁIN [RONAN'S BETRAYAL] and CAITHRÉIM CHEALLAIGH [CEALLACH'S TRIUMPH] (A PAIR) wat](https://cdn.globalauctionplatform.com/51390001-8539-4292-b0a0-a76a00b092fa/633319c8-1c83-47bb-d367-96f0b07b6985/468x382.jpg)
Mícheál MacLíammóir (1899-1978) FIONGHAL RÓNÁIN [RONAN'S BETRAYAL] and CAITHRÉIM CHEALLAIGH [CEALLACH'S TRIUMPH] (A PAIR) watercolour on paper; (2) first work signed and dated [1955] lower left From a set of six watercolour drawings of scenes from early Irish hero-tales, drawn for the collection Scéalaíocht na Ríthe [Stories of the Kings] by Prionsias Mac Cana and Tomás Ó Floinn, 1956.See lots 34-36 from the same collection. 11.75 by 10.75in. (29.8 by 27.3cm)
![Mícheál MacLíammóir (1899-1978) AILILL AGUS ÉADAOIN [AILILL AND EAODAOIN] and AN DÁ THÁIBHLE [THE TWO TABLETS] (A PAIR) water](https://cdn.globalauctionplatform.com/51390001-8539-4292-b0a0-a76a00b092fa/4cfae4ab-c80f-4d00-ea76-40ee714bb9bc/468x382.jpg)
Mícheál MacLíammóir (1899-1978) AILILL AGUS ÉADAOIN [AILILL AND EAODAOIN] and AN DÁ THÁIBHLE [THE TWO TABLETS] (A PAIR) watercolour on paper; (2) first work signed and dated [1955] lower right From a set of six watercolour drawings of scenes from early Irish hero-tales, drawn for the collection Scéalaíocht na Ríthe [Stories of the Kings] by Prionsias Mac Cana and Tomás Ó Floinn, 1956.See lots 34-36 from the same collection. 11.75 by 10.75in. (29.8 by 27.3cm)
Frederick Edward McWilliam RA HRUA (1909-1992) MAN AND WIFE, 1934 sycamore wood; (unique) signed, titled and dated on underside of base Collection of George and Maura McClelland (acquired directly from the artist) 'F.E. McWilliam', London Gallery, 1939; Arts Council of Ireland 1981, catallogue no. 2;'F.E. McWilliam: Sculpture 1932-1989', The Tate Gallery, London, 10 May to 9 July 1989, catalogue no. 4, illustrated p.38;'Irish Sculpture Exhibition', Jerome Connor Arts and Sculpture Weekend, Annascaul, Co. Kerry, 26-28 June 1998, catalogue no. 38;'Northern Irish Artists from the McClelland Collection',Irish Museum of Modern Art, 1 September 2004 to 6 March 2005;'F.E. McWilliam in Banbridge', F.E. McWilliam Gallery, Banbridge, 26 September 2008 to 22 February 2009, illustrated p.36;Highlanes Gallery, Drogheda, 'McWilliam at Banbridge: a selection', 27 February to 21 April, 2009. Mel Gooding, F.E. McWilliam Sculpture 1932-1989, exhibition catalogue, Tate Gallery Publications, London, 1989, p.38 (illustrated)The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.113 (illustrated)Denise Ferran, F.E. McWilliam at Banbridge, F.E. McWilliam Gallery, Banbridge, 2008, p.36 (illustrated) From McWilliam's accurate dating of 34.01, this work was completed by artist as his first work in 1934, when he and his wife Beth, who he had married in 1932, lived in Chartridge, Buckinghamshire.In 1931, F.E. McWilliam travelled to Paris on a Robert Ross Leaving Scholarship from the Slade with fellow student Beth Crowther, from Golear, near Huddersfield, whom he was to marry in March 1932 at St. John's Presbyterian Church, Kensington, London. The McWilliams intended to live, study and work in Paris since: 'it was the mecca, and the whole atmosphere testified to this; holy ground, full of memories of Cézanne and the presence of Picasso.' He met Zadkine and visited his studio and he also went to Brancusi's studio and was given an extensive tour by the Romanian sculptor with long discussions on his work practice. However, in 1932/33 sterling collapsed against the French franc and both Beth and "Mac" (as he was known affectionately by his friends) were forced to return to England where they rented a home in Chartridge, Buckinghamshire set in a cherry orchard surrounded by sycamores.With the ready material of the trees and the space available McWilliam began carving, which was his first love. He had befriended the Belfast sculptor George MacCann (1909-67) as students in London and through him was introduced to Henry Moore. MacCann had been a student of Moore's at the Royal College of Art. Moore was, at the time, a carver in stone and wood and his influence then was enormous, not only in England but also internationally.'Man and Wife', incorporates the simple forms, the reduction of facial features, the merging of the two bodies which are still manifestly recognizable as a man and a woman in close harmony.George McClelland loved the integrity of this work but it took some persuading to get McWilliam to part with it, possibly because the work reminded the sculptor of the early years of his marriage and his love for his wife, Beth. McClelland, desired it too for a similar reason, as it reminded George of himself, his larger frame towering over his more petite wife, Maura. Dr Denise FerranMay 2017 16.50 by 8.50 by 5.50in. (41.9 by 21.6 by 14cm)
Francis O'Donohoe ARHA (1878-1911) PORTRAIT OF MARY ELLEN O’DONOHUE, MOTHER OF THE ARTIST, AND HER DAUGHTER, MARY JOSEPHINE FENNING (NÉE O’DONOHUE), SISTER OF THE ARTIST oil on canvas Family of the artist Francis O'Donohoe was born at 40 Cuffe Street, Dublin. At the age of 11 he became a pupil in the Metropolitan School of Art under James Brenan. He was twice awarded the national bronze medal, and at the age of 16 obtained second place for drawing. In 1896 he was sent to attend a special course at South Kensington. As a student in the Royal Hibernian Academy he was likewise successful, carrying off the first prize for drawing and painting two years in succession. He afterwards went to Paris and studied in the Académie Julien under Benjamin Constant. Returning to Dublin he was appointed Art Master in the City of Dublin Technical Schools. He began to exhibit in the Royal Hibernian Academy in 1899 and was elected an Associate of that body. He did not, however, paint any important easel pictures, but found employment in Church work. One of his first commissions for ecclesiastical painting was a set of Stations of the Cross for the parish church of Screen, Co. Wexford. Subsequently he painted a picture of The Sacred Heart for the Cathedral at Loughrea. His next important commission was the painting of figures of The Twelve Apostles for the decoration of St. Andrew's Church, Westland Row, which were placed in the transept. A career of some promise was cut short by a tragic end in a car crash in Donnybrook on 23 December 1911. A memorial exhibition of his pictures and drawings was held at The Arts & Crafts Society of Ireland in 1912. 27 by 22.75in. (68.6 by 57.8cm)
Nicholas Hely Hutchinson (b.1955) THE HA'PENNY BRIDGE, DUBLIN gouache and pastel signed with initials lower right; titled on reverse; also with Frederick Gallery label on reverse Whyte's, 25 February 2008, lot 178;Private collection Solo exhibition, Frederick Gallery, Dublin, December 2002, catalogue no. 2 Born in Dorset in 1955 to a family with strong Irish connections, Nicholas Hely Hutchinson studied at St. Martins School of Art and Bristol Polytechnic (Fine Art).Since his first one-man exhibition in 1984 Nicholas has exhibited consistently in London, Dublin - in The Frederick Gallery and The Ib Jorgensen Gallery - and Hong Kong. His paintings feature in many private and corporate collections.He has been represented by the Portland Gallery since 1997. A range of cards and posters featuring his work have been published by the Art Group, The Canns Down Press, The Almanac Gallery and Paperlink. 26.50 by 21.50in. (67.3 by 54.6cm)
Paul Henry RHA (1876-1958) AN IRISH BOG, c.1938 oil on canvas signed lower left Private collection, USA;Adam's & Bonhams, 8 December 2009, lot 108;Private collection, Ireland This is as fine Paul Henry painting as one might expect to come across. The sky bristles with activity, the clouds promising a fine day. Yet there is a hint of threat in the clouds, although that will probably not amount to a great deal. The small habitation in the middle distance is set against the mountains which provide both a setting and act as a backdrop to the scene, halting the eye's recession. In the foreground all is peaceful, the turf stacks giving a necessary upward thrust to the composition, which would be very flat otherwise, while the lake, which meanders through the whole, is redolent of the area, which can only be the West of Ireland. Henry, when he first went to the West, to Achill Island, was captivated by the people around him and their lifestyle, but only later - from about 1915 - did he turn his attention to the landscape per se. Thereafter, it was the landscape that took his attention. It is impossible to know where this landscape represents, but it may be the area around Glenbeigh which Henry, and Mabel, his second wife, first visited in 1933. He was entranced by the area, writing to James Healy in America saying that 'Wherever one turns there is material for dozens of pictures'. The area reminded him of Cape Cod, 'very lonely & wild but not very paintable … nicer at a distance'. He was in good spirits at the time, making various sketches which, later in the studio, were turned into paintings. This picture may be one of those. An Irish Bog is numbered 1243 in S.B. Kennedy's on-going cataloguing of Paul Henry's oeuvre.Dr S.B. KennedyApril 2017 21.75 by 25.75in. (55.2 by 65.4cm)
John Butler Yeats RHA (1839-1922) "HARVEY" pencil on card inscribed lower right "Harvey" Provenance: Collection of Lady Gregory, Coole Park; Private collection Yeats was aquainted with two Havey brothers. The first was Arnold Harvey (1878-1966) who was a student of Divinity at Trinity College Dublin and who came to Coole Park as tutor to Robert Gregory (son of Lady Gregory). There he met various members of the Yeats family and became a particular friend of Jack and Cottie Yeats. He was an international rugby player and cricketer and later became Bishop of Cashel and Waterford from 1935 to 1958. Two descendants of Thomas Arnold Harvey do not think this portrait is of him. The other likely sitter is Sir Henry Paul Harvey (1869-1948) knighted in 1911, editor of the Oxford Companion to English Literature (1932), and the Oxford Companion to Classical Literature (1937). Henry Paul Harvey Durant (1869-1948) was the illegitimate child of the French sculptor Henri Triqueti and the English sculptor Susan Durant. After his mother died, he was brought up by Blanche Lee Childe, variously described as his aunt or his half-sister, and when Childe also died in 1886, he was sponsored by Augusta, Lady Gregory with help from Henry James. He spent some time at Coole where he would have met Yeats.11.25 by 9in. (28.6 by 22.9cm)
Louis le Brocquy HRHA (1916-2012) ADAM AND EVE IN THE GARDEN, 1951-1952 Aubusson Tapestry, Atelier Tabard Frères et Soeurs, France; (from an edition of 9) signed with initials and dated in the weave lower left; signed on weaver's label on reverse Collection of George and Maura McClelland Taylor Galleries, Dublin, Louis le Brocquy, Tapestries, exhibition catalogue, 2000 (illustrated); The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.90 (illustrated) Few artists anywhere have had as much experience in tapestry design. Along with his well-known predecessor Jean Lurçat, Louis le Brocquy has proved to be a master of the medium and a landmark figure in the revitalisation of this art form. His experience began in 1948, when Edinburgh Tapestry Weavers invited a number of painters working in London to design a first tapestry. His association with the medium further developed in the 1950s, in his collaboration with the great firm Tabard Frères & Soeurs, founded in the 17th century in Aubusson, France. Later the artist's tapestries were woven in the same historic region by the Atelier René Duché, Meilleur Ouvrier de France. The early tapestry designs include Travellers (1948), Garlanded Goat (1949-50), Allegory (1950), and the Eden Series (1951-52); the latter series, includes Adam And Eve In The Garden. Later there was the Inverted Series (1948-99), the Tain Series (1969-00), the Cúchulainn Series (1973-1999) and the Garden Series (2000). Large-scale tapestry commissions include Brendan the Navigator (1963-64, UCD, Michael Smurfit School of Business, Dublin), The Hosting of the Táin (1969; Irish Museum of Modern Art), the Massing of the Armies (RTÉ, Dublin) and the monumental Triumph of Cúchulainn (National Gallery of Ireland, Millennium Wing). In 1951, Mrs. S.H. Stead-Ellis, whose art collection already included le Brocquy tapestries, commissioned three related tapestries, adaptable as screen, rug and firescreen, on the theme of the Garden of Eden - Adam and Eve in the Garden, Eden and Cherub. He treated the theme with archetypal imagery in a Classical, even traditional manner, the sun and the moon appearing respectively in the male and female spheres. The Tree of Knowledge of Good and Evil appears as in traditional French Medieval tapestry with the birds and butterflies among its leaves, but he adds a Surrealist aspect with eyes as well as leaves (as befits a tree of knowledge) and fish swimming in its branches. Eden remains one of le Brocquy's most interesting works; the vibrant colourful design is based on a series of subdivisions of the classical Golden Section, yet the design bleeds off the tapestry in a most unclassical manner. The leaves of the Tree mingle with the tears of Adam and Eve while the fatal apple is discarded, bitten and segmented. The artist, in an interview with Harriet Cooke published in The Irish Times on May 1973, describes his involvement with tapestry as something he had "rather stumbled into by accident". But after that first commission from Edinburgh Weavers, the medium took on its own distinct fascination: "I always found it a kind of recreation, involving completely different problems, it is refreshing in the sense that one is exhausted in a different way. There is also another aspect of it which is very exciting to the painter, who has this struggle with the angle, and that is the same aspect which is so exciting, say, to the Japanese Satsuma potter, when he puts his jar in the oven and waits on tenterhooks for it to come out. It always comes out a little different from what he had imagined and sometimes he has wonderful surprises. The method I use is a system of notation, a linear design which is numbered in the colours of a range of wools. Although one can visualise what one is doing, to a certain extent, when the tapestry is palpably there this causes an independent birth of something, and that is so contrary to the whole involved process of painting that it is rather refreshing." Dorothy Walker (1929-2002) Published on www.anne-madden.com 55 by 108.25in. (139.7 by 275cm)
William Scott CBE RA (1913-1989) BLUE STILL LIFE, 1969-1970 oil on canvas signed, titled and dated on reverse with Hanover Gallery, London; Where purchased by Richard Davis, New York, 8 September 1970; Thence by descent to the previous owner; Christie's, 16 November 2007, lot 72; with Richard Green, London, 2008; Collection of George and Maura McClelland 'William Scott: Paintings, Drawings and Gouaches 1938-71', Tate Gallery, London, 19 April to 29 May 1972, catalogue no. 101; 'William Scott', Martha Jackson Gallery, New York, January to February 1973; 'William Scott', Gallery Moos, Toronto, October to November 1973; Art |39| Basel, 4-8 June, 2008, with Richard Green In a review of the major one-man show in New York in 1973, that included Blue Still Life, Hilton Kramer - the influential and provocative critic of the New York Times - described William Scott as "an artist of uncommon distinction - not only the best painter of his generation in England, but one of the best anywhere."(1) The show was to mark Scott's sixtieth birthday, but recognition for his particular contribution to Modernism had been growing over the years, leading to his inclusion to represent Britain at the Venice Biennale in 1958, a major retrospective at the Tate Gallery in London in 1972, and the reproduction of his Berlin Blues 1 painting on an Irish postage stamp in 1973. Scott was, however, continuing to innovate, and the New York show comprised recent works taking his interests to a new level of resolution, including those like Blue Still Life eloquently employing the "rich Mediterranean blues" that had become a signature dimension of his work. Kramer perceptively summarized the paintings in the exhibition as "abstractions based mainly on still-life motifs." While Scott had addressed other subjects from time to time over the years, including landscape, portraiture and the nude, still life was the enduring thematic interest for the artist from an early stage and throughout his career. He asserted his preference for man-made objects over nature, and the contours of still life were interesting in themselves as well as providing a significant basis for his evolving propensity towards abstraction. They were reminiscent also of the domestic environment of his working class origins; as he explained "the objects I painted were the symbols of the life I knew best."(2) Born in Greenock, Scotland in 1913, Scott moved with his family to his father's native Enniskillen in 1924. Initially he learned the skills of sign-writing from his father and attended art classes with Kathleen Bridle who introduced him to Modernist art and to the writings of Roger Fry that would resonate with Scott, not least in highlighting the importance of representing familiar objects over more narrative-based subject matter. Later, Scott went to the Belfast School of Art and then the Royal Academy Schools in London. Following his marriage, he and his wife, artist Mary Lucas, spent time on the Continent - including to Mediterranean towns in the south of France - travelling, seeing art and teaching, before returning to Britain where he later took up a role at the Bath Academy of Art. Scott became a regular visitor to St Ives, and knew many of the artists there. In 1953, a visit to New York brought him into contact with Mark Rothko, Jackson Pollock and Willem de Kooning. While in Paris with his wife, Scott saw his first Matisse painting, a still life with drapery that entranced him reflecting a burgeoning interest and the direction his own work was to take.(3) On a later visit to Paris, in 1946, Scott was captivated by the exhibition A Thousand Years of Still Life Painting, where he "was overwhelmed by the fact that the subject had hardly changed for a thousand years, and yet each generation in turn expressed its own period and feelings and time within this terribly limited narrow range of the still life."(4) While his earliest still life paintings are the most naturalistic, Scott's interest in stylization and in abstracting are evident throughout his career as a painter; his focus on the structure and contours of composition and forms predominate over illusionism and mimesis, demonstrating his interest in primitivist forms and an austere aesthetic. The clustered still life objects of the late 1950s increasingly gave way to abstraction evolving to the celebrated Berlin Blues series in the mid 1960s. In the words of Clive Bell, Scott evinced a "truly remarkable gift of placing",(5) a capacity that became especially evident as Scott pioneered the representation of ordinary subjects on large canvases, with an almost classical presence, as in the commanding scale of Blue Still Life. The late still lifes, as this work demonstrates, comprise emblems on the cusp of abstraction; the familiar contours of utensils are distilled to pure flat forms dispersed on the canvas in a finely tuned arrangement, remote from the practical groupings of the kitchen from which they once derived. Mitigating their potential asceticism, however, Scott had expressed a desire "to animate a still life in the sense that one could animate a figure. I chose my objects … objects without much glamour"(6) indicating their humble origins and enduring personal relevance. His achievement is reflected in Kramer's comments in his New York Times review that Scott "invests this radically delimited imagery with a distinct mode of feeling" explaining that while highly simplified, the works evoke a "remarkable poetic resonance … and suggest a very personal emotional atmosphere." In Blue Still Life, the soft blurring of the familiar contours and the 'haloes' around selected objects balance the cool austerity of uncluttered space, the sparsely populated kitchen repertoire of the working class household in interwar cities. But there is no sense of deprivation, and the image 'breathes' with the space of sufficiency rather than indulgence. Close inspection shows too the flecks and drizzles of paint that, far from the machine aesthetic of Minimalism, reveal the handcraft of construction, abstraction animated by reality. Kramer appropriately summarized the 1973 show that included this painting. (7) "This is a beautiful exhibition, full of wonderful painterly subtleties and the kind of pictorial eloquence we would expect only from a mature artist in complete control of his medium." Dr Yvonne Scott, May 2017 (1) Hilton Kramer, 'Painterly Subtleties Fill Work of Scott', New York Times, 6 January, 1973, p.25. The show was at the Martha Jackson Gallery, New York early in 1973 to mark the artist's sixtieth birthday. (2) Lawrence Alloway, Nine Abstract Artists, their work and theory, London 1954, p.37, quoted in Norbert Lynton, William Scott, London 2007, p.30. (3) Norbert Lynton, William Scott (year), p.23. (4) Alan Bowness, 1964, quoted in Lynton, p.61. (5) Clive Bell, quoted in Lynton, p.42. (6) William Scott, quoted by Theo Crosby, 1957, reproduced in Lynton, p.76. (7) Kramer, op.cit. 48 by 72in. (121.9 by 182.9cm)
William Conor OBE RHA RUA ROI (1881-1968) THREE SINGERS oil on canvas Collection of George and Maura McClelland 'Children of Ulster', McClelland Galleries, Belfast, 1969 Born in north Belfast in 1881, William Conor was one of seven children. He attended the Belfast Government School of Art. During the years 1904-1910 he served an apprenticeship as a lithographer and poster designer with David Allen & Sons. During both World Wars, Conor was engaged as a war artist. John Hewitt has succinctly observed; '…For the middle decades of the century William Conor was the representative artist…few can have realised how representative he has been, how broadly typical of our best moods and impulses…' (Art in Ulster I, 1977, p86). As an artist he became an antidote to what was often a bleak outlook for the people of that time. His work was inclusive of all people in the city of Belfast and it was not marred by the mark of condescension that his notice might be a privilege for those depicted. He has, singlehandedly, created a comprehensive social catalogue for the first half of the twentieth century featuring working class existence, street games, family life and pursuits. He was a prolific artist and constantly carried his sketchbook with him. In the Museums and Galleries of Northern Ireland (MAGNI) there are seventy-five of his works, Armagh County Museum have five, and the largest collection of his work - almost 1,200 pieces - is in the Ulster Folk and Transport Museum. Kenneth Jamison admired the absence of a moralising tone in Conor's work; in essence its' positive purity, 'He is, perhaps, a kind of Irish Daumier, but without the bitter satirical edge; certainly an impressionist of sorts whose affection for his subjects saved him from becoming doctrinaire'. ('Painting and Sculpture' in Causeway: The Arts in Ulster, 1971, p44). 'Three Singers' is a beautifully intimate group portrait of three unidentified figures. Their faces are full of characterisation; Conor has invested each with such a degree of personality that the viewer has a sense of acquaintance with them as a collective - there is an overall atmosphere of familiarity. This is perhaps due to their assertive presence on the canvas. Conor's handling of oils lends the figures a sculpted feel; they appear three-dimensional, almost modelled, as opposed to painted, on the canvas. The colour range, though not extensive, has a rich endearing vivacity that is a pleasure to behold. These figures are timeless, universal and characterised by a wholesome presence. All three sing expressively; mouths open, song books in hand. They are connected to one another through the direction of their gaze. The central protagonist sings with head tilted slightly to the right and eyes looking firmly in that direction. The figure to the right, head uplifted and turned to the left, engages the final figure whose head is uplifted in full singing expression. 'Three Singers' sees its precedent to some extent in 'Three Choir Girls'. In evidence again are the three singing figures, the books are apparent in two of the figures' hands and there are differing facial expressions but all are in full song. However, here the continuity of expression ends. 'Three Choir Girls' is more detailed and realist: it is clearly an earlier painting. The artist has included the background and one can see the detail of the sash window. Also the clothes of the girls have undergone increased differentiation and detail. Conor's approach loosened as he progressed yet this evolution added to the immediacy and exuberance of the surface. He was evidently immersed in depicting those people he encountered every day. As Máirín Allen documented in the Father Mathew Record, Conor was confident that the artist should record 'his own epoch and give expression to what was happening around him'. He was, therefore, one of the earliest socially-engaged practitioners in Northern Ireland, before the coining of such a term. Marianne O'Kane BoalMay 2017 30 by 25in. (76.2 by 63.5cm)
![Sir Terry Frost RA (British, 1915-2003) SUSPENDED FORMS TRIPTYCH [RED, BLUE AND YELLOW], 1982 acrylic and collage on canvas;](https://cdn.globalauctionplatform.com/51390001-8539-4292-b0a0-a76a00b092fa/627084d2-90a7-4c72-8baa-f37074b8b940/468x382.jpg)
Sir Terry Frost RA (British, 1915-2003) SUSPENDED FORMS TRIPTYCH [RED, BLUE AND YELLOW], 1982 acrylic and collage on canvas; (3) each signed, titled and dated on reverse Peter Nahum at The Leicester Galleries, London;Collection of George and Maura McClelland Lewis, David, Terry Frost, Scolar Press, Leicester, 1994, p.127 (illustrated)Stephens, Chris, Terry Frost, Tate Publishing, 2000, p.71 (illustrated) Sir Terry Frost RA was an English abstract artist, who worked in Newlyn, Cornwall. Frost was renowned for his use of the Cornish light, colour and shape. He became a leading exponent of abstract art and a primary figure of the British art world of the latter half of the twentieth century.Born in Leamington Spa, Warwickshire, in 1915, he did not become an artist until he was in his 30s. He left school aged fourteen and went to work in Coventry. During World War II, he served in France, the Middle East and Greece, before joining the Commandos. Whilst serving in Crete in June 1941 he was captured and sent to various prisoner of war camps. As a prisoner of war at Stalag 383 in Bavaria, he met Adrian Heath who encouraged him to paint. He later described those years as a ‘tremendous spiritual experience, a more aware or heightened perception during starvation’.As soon as the war was over he went to Birmingham College of Art, moving in the same year to Camberwell School of Art under Leonard Fuller. The following year, 1946, he relocated for a year to St. Ives School of Painting where his first solo exhibition was held in 1947 at G.R. Downing's bookshop, before returning to the Camberwell School of Art under Victor Passmore, Ben Nicholson and William Coldstream, with whose encouragement he showed his first abstract work in 1949. For three years he exhibited with the St. Ives Society of Artists, until in 1950 he was elected a member of the Penwith Society; he maintained a permanent connection with the Newlyn school. In the early 1950s he worked as an assistant to the sculptor Barbara Hepworth. He was joined there by Roger Hilton, with whom he began a collaboration in collage and construction techniques.His first solo exhibition was in 1952 at the Leicester Galleries in London. Frost's academic career included teaching at Bath Academy of Art, the Coventry Art College and the University of Leeds School of Art, where he was the Gregory Fellow from 1954 to 1956. In 1958 while still teaching at Leeds he joined the London Group. In 1964 he was made Artist in Residence at the Fine Art Department of Newcastle University and became a full time lecturer for the Department of Fine Art at Reading University in 1965. He became Professor of Painting at the University of Reading from 1977 to 1981. In 1992 he was elected a Royal Academician and he was knighted in 1998.In 1960 The Barbara Schaeffer Society in New York, hosted Frost's first exhibition in USA. There he met many of American Abstract Expressionists, including Marc Rothko who, along with his wife Mel, became great friends. Further solo exhibitions include the ICA, London (1971) and the Serpentine Gallery, London (1976). A retrospective exhibition of his work was held at the Mayor Gallery, London in 1990, and a major retrospective, ‘Terry Frost: Six Decades’, was held at the Royal Academy of Arts in London in 2000. A major exhibition of his work commemorated the centenary of his birth in 2015 at The Tate St. Ives.Sir Terry Frost's work is held in many prestigious public, corporate and private collections throughout the world, including the Tate Gallery, the V&A, and the British Museum. 56 by 72in. (142.2 by 182.9cm)
![Marvel First Issues (1968-76): Amazing Adventures 1 [vfn], Iron Man and Sub-Mariner 1 [vg], Marvel Two-in-One 1 [vfn-nm], Nov](https://cdn.globalauctionplatform.com/c6dc5736-6b4a-4142-9d12-a77000e16a5b/c513aaa5-dcbf-483f-aa09-1a9db5d1649f/468x382.jpg)
Radio Fun comics (1939) 14, 16, 17, 19, 20, 22-24, 27-31, 34-43, 49, 50, 53, 63 Xmas, 64. First Big-Hearted Arthur cover with issue 17. Starring Flanagan and Allen, Will Fyffe and the Radio Fun Music Hall. Mostly bright covers, cream pages, rusty staples. Nos 39, 53, 63 [gd], balance [vg/fn-] (28)
DC Bronze Mix: Action 419, 425, Aquaman 51, Arion 1, Beowulf 1, 2, 4-6, Blaster Special 1, Claw 1-3, Detective 408, First Issue Special 1, 2, 4-8, Flash 217-219, 226, Four Star Spectacular 1, Hercules Unbound 1, Johnny Thunder 1, Justice Inc , Karate Kid 1, Cobra 1, Kong the Untamed 1, Omac 2, Rima 2, Richard Dragon Kung-Fu Fighter 2, Sherlock Holmes 1, Stalker 1, Super-Team Family 1, 2. A few [gd+/vg-], balance [fn-/vfn] (38). No Reserve
![Cry For Dawn 1 (1989) First print [vfn-]](https://cdn.globalauctionplatform.com/c6dc5736-6b4a-4142-9d12-a77000e16a5b/a1550fdd-bc4e-4ed5-f218-703a88edbb6e/468x382.jpg)
![Walking Dead (2004-05) 12-14, 18, 20. All first prints [vfn/nm-] (5)](https://cdn.globalauctionplatform.com/c6dc5736-6b4a-4142-9d12-a77000e16a5b/ebdc08b5-a701-4266-a2c2-4fd3df446299/468x382.jpg)
Magic-Beano Book (1943). Big Eggo and Koko win 3-legged race. From the Brenda Butler comics archive. With the demise of Magic Comic after 80 issues its key characters, Koko, Peter Piper, The Tickler Twins and Sooty Snowball co-starred in this first 'Magic-Beano' annual. The propaganda back cover features Tootsy McTurk's 'V' for Victory sign in morse code! Bright unblemished fresh boards and spine with minimal wear. No dedication, cream/light tan pages. The annual looks unread. The highest grade copy ever offered at auction [vfn]
![Guinness Book of Records (1955). First edition with original mailing box. Laminate unbroken, as new [m]](https://cdn.globalauctionplatform.com/c6dc5736-6b4a-4142-9d12-a77000e16a5b/cc28f290-ee62-4ecf-d309-70390c8a40ea/468x382.jpg)
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