TERENCE MacSWINEY. FIANNA FAIL (The Irish Army). A Journal for Militant Ireland. Nos. 1-11 (all published). Cork, 19 September - 5 December 1914, various printers. Folio, mostly 4 pp, one double number. Fine copies.This short-lived periodical was edited, financed and mainly written by Terence MacSwiney, later Lord Mayor of Cork, whose death on hunger strike in 1920 was a turning point in the independence struggle. Its main purpose was to support the Irish Volunteers, and to oppose Irish recruitment to the British Army at the outset of the First World War. It reports in detail the attempt to expel a leading Volunteer officer, Sean O’Hegarty from Cork, and the controversy with Redmond over the future of the Volunteers. It was suppressed after the eleventh issue, which reports in large type a promise of German support for Irish freedom given to Roger Casement in Berlin. The printer’s name is cut from the final page of this issue, as in all copies we have seen, presumably for fear of reprisals. It did not circulate outside Cork, and complete sets are extremely rare.
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LOUIE BENNETT, trade unionist and feminist.George Eliot: The Mill on the Floss, Blackwood n.d., with a fine inscription on f.f.e.p., ‘To Christabel Susan Manning, at her christening, from Louie Bennett. ‘Maggie Tulliver is the first discontented heroine in fiction. She was a herald of the woman of the 20th century. ‘A “divine discontent” is at the root of every reform. ‘A “divine discontent” keeps the soul alive.‘Therefore a “divine discontent” is a desirable possession.’Louie Bennett [1870-1956] was herself ‘a herald of the woman of the 20th century’. A friend of James Connolly, though a pacifist, she was founder and first secretary of the Irish Women’s Suffrage Federation in 1911. She was general secretary of the Irish Women Workers Union for many years, and was the first woman President of the Irish Trade Union Congress.Christabel Manning was a daughter of Dr. James Fitzmaurice Manning of Dublin. She married Robert Alden Childers, third son of Erskine Childers (executed 1922) and brother of the politician Erskine Childers, fourth President of Ireland (1973-4). In March 1934 she was awarded a short story prize by Motley magazine. The judge was Sean O Faolain.
HEANEY, SEAMUS (1939-2013),The Road to Derry, A copy of the ‘Derry Journal’ for 31 January 1997, newspaper folio, 28 pp, containing first publication on p. 3 of The Road To Derry, a twelve line poem which Heaney wrote for Luke Kelly in memory of the Bloody Sunday killings in Derry. Brandes & Durkan C694. Also published the following day in the Guardian newspaper, and in a theatre programme the following September; otherwise unpublished and uncollected. A very good copy.Apparently Heaney intended that it might be sung to the air of The Boys of Mullaghbawn, but Kelly felt the air was too slow and it was never performed.
***PLEASE NOTE THIS LOT IS INCORRECTLY ILLUSTRATED IN THE PRINTED CATALOGUE***O'Flanagan, Patrick and Buttimer, Cornelius G., Cork: History and Society, Dublin, 1993, Geography Publications. First edition, signed by John Murray, Lord Mayor of Cork, cloth hardcover with d.j; together with James S Donnelly, The Land and the People of Nineteenth Century Cork, First Edition, Routledge & Kegan Paul Books, 1975. (2)
The Original Programme for “Translations” by Brian Friel, Field Day Theatre Company, First Production, 23rd September 1980, 12 pages, 4to., in card cover, cover design by Basil Blackshaw, With Poem in English and Irish, “After the Irish”, by Seamus Heaney. Signed by Brian Friel and eight of the cast, including Liam Neeson, Mick Lally, Ann Hasson, Roy Hanlon, David Heap, Shaun Scott, Brenda Scallon, Nuala Hayes. Also signed by Art O'Brien, Director, Consolata Boyle, Set and Costume Design, Bo Barton, Stage Manager & Finola O'Doherty. A superb item.
NEWENHAM, SIR EDWARD, Two letters dated 1782 from Sir Edward Newenham, MP for Co. Dublin and Irish Volunteer to his son Edward then under education in Switzerland. The first dated March, details an accident in which 97 men were badly wounded, it contains detailed descriptions of the military uniforms of the 1782 volunteers. The second, dated May, indicated activities of the Volunteers, opposition to King and Government. Both have scarce Bishop and other postal markings; together with two other letters, dated 1824 and 1826 to Edward junior, by then a Captain in the British Army in France. Both letters have very fine (ex) ANGLETERRE postmarks in red (1824) and black (1826). (4)
WELLESLEY, HENRY (1773 - 1897) Irish MP and Diplomat.Two autograph letters signed. Henry Wellesley was born into one of the most famous Irish families, his father Garrett, was first Earl of Mornington, his brother Arthur, the Iron Duke, became Prime Minister, and another, Richard Colley, Marquess Wellesley, was Governor General of India and Lord Lieutenant of Ireland. The first letter written from Spain in 1811 within two months of becoming Ambassador there I am very much obliged to you for the invaluable communications which I have received in relation to the military operations in Valencia ……. The second letter dated 1825 was written from Vienna, also while he was Ambassador there, to Mr Andrew, Bookseller, Bond Street, concerning purchases of books.
WILLIAM HEATHER Chart of the North Coast of Ireland The title is in a circular frame in the centre and reads A New Chart Of The North Coast of Ireland From Sligo Bay to Rachlin Isle Drawn From The Latest Surveys for W. Heather. 1807. Below the title is J. Stephenson Engraver. Below the frame is the imprint London. Published as the Act directs, January 1st 1807, by William Heather, at the Navigation Warehouse, No. 157 Leadenhall Street. This is part of a series of three charts covering the north, west and south coast of Ireland, first produced in 1807. It overlaps chart V to include Sligo town.It shows the coast from Ballycastle and Rathlin Island, county Antrim, to Achris Head, county Sligo. There are scattered coastal profiles, notes on the sea bottom, numerous soundings and tide and current marks. There are also two compass roses showing north to the top and scales of latitude and longitude west from Greenwich, on all four sides. Magnetic variation is dated 1807.In the lower right corner is an inset (265 x 230 mm.) entitled A New Chart of Loch Foyle, being the Entrance to Londonderry with a Scale of Miles 6 [= 70 mm.] and one compass rose showing north to the top. 780 x 645mm.
HUDDARTChart of the North Coast of IrelandThe title is a scalloped frame in the bottom centre and reads A New Hydrographical Survey of the West Coast of Ireland from Sligo Bay to Tory Island and of the North Coast from Tory Island to Raughlan Island; with the Entrance of the North Channel Being a Continuation of the Survey made by Captn. Joseph Huddart. London. Printed for R. Sayer & J. Bennett, Fleet Street, as the Act directs 19 Septr. 1781.This chart was first published in 1781 by Sayer and Bennett and was included in their East India Pilot of that year. It was reprinted in 1794 by Laurie and Whittle for their Irish Coasting Pilot and Coasting Pilot of Great Britain and Ireland. It was reprinted again in 1812 and in this form was included as the fifth chart in Laurie and Whittle's The North-about Navigator of 1818. 795 x 525 mm.
WILLIAM COURTNEY 10TH EARL OF DEVON ET. AL. Report from Her Majesty's Commissioners of Inquiry into the State of the Law and Practice in Respect of the Occupation of Land in Ireland/Evidence in Respect Of the Occupation of the Land, Appendices, Appendix of Minutes of Evidence. Dublin & Belfast: Thom, 1845., first edition, folio, hard cover.
FENIAN CONSPIRACYReport of The Proceedings at the first sitting of the Special Commission for the County and City of Dublin, Held at Green-Street, Dublin, for the Trial of Thomas Clark Luby, and Others, for Treason-Felony, the Fenian Conspiracy, Dublin: Thom, 1866. First Edition, royal 8vo, clothThe trial commenced on Nov. 27th 1865. The others charged were John O'Leary, Michael Moore, John Halligan & Jeremiah O'Donovan Rossa. Luby was sentenced to 20 years penal servitude in Kilmainham Gaol.
The English Whisky Co. St George's Distillery Chapter 6 Batch 002 (first ever released whisky which sold out almost immediately), also Chapter 6 American Bourbon 1st Fill, Chapter 7, Chapter 9, Chapter 13, all 70cl and with original packaging, together with copy of newspaper article detailing the sell out of the first bottling of Chapter 6 (5) Condition report: No signs of damage or leakage to the bottle or packaging.
The English Whisky Co. St George's Distillery Chapter 6 Batch 002 (first ever released whisky by the distillery which sold out almost immediately), also Chapter 9, Chapter 13, Chapter 15, and a limited edition Chapter 8, all 70cl and with original packaging, together with copy of newspaper article detailing the sell out of the first bottling of Chapter 6 (5) Condition report: No signs of damage or leakage to the bottle or packaging.
David Hockney (1937-), "In Despair", signed, dated '66 and numbered 7/75 in pencil in the margin, etching, plate size 35 x 22.5cm.; 13.75 x 8.75in. * This is one of thirteen etchings for Illustrations for Fourteen Poems from C.P. Cavafy. Hockney's first major series of etchings since A Rake's Progress (1961-3), it was conceived almost entirely in terms of line, and contained some of the artist's most accomplished line drawings to that date. Artists' Resale Right ("droit de suite") may apply to this lot.Condition Report: The etching is in good, original condition. There is foxing across the surface of the print and the paper has undulations as can be seen in the images. The etching is framed and glazed as can be seen.
Clara Klinghoffer (Ukrainian, 1900-1970), "Anne Marie", signed and indistinctly dated, titled and dated 'October, 1932' on exhibition label - 'The Leicester Galleries, London' verso, oil on canvas, 36.5 x 45cm.; 14.25 x 17.75in. * Clara Klinghoffer became a shining painter overnight at the age of nineteen when she had her first exhibition at the Hampstead Gallery in London. She studied at the Slade from 1918 to 1919 and her work was much admired by her many mentors such as Bernard Meninsky, Alfred Wolmark and Sir Jacob Epstein who recommended her to the gallery. Klinghoffer's work is represented in both the National Portrait Gallery and the Tate Gallery. Artists' Resale Right ("droit de suite") may apply to this lot.
Two Worcester spoon trays circa 1770, the first painted with floral sprays within gilt scrollwork cartouches with central turquoise medallion, the second painted with exotic birds on a blue scale ground, (2) 15cm wide Condition report: The first has a well restored section of the rim. The second has overall old restoration.
Leon Underwood (1890-1975), Female nude, signed and dated '57, charcoal and wash, 56 x 38cm.; 22 x 15in. * Underwood studied at the Royal College and the Slade School of Art, and worked as a sculptor, painter, wood engraver and writer. In 1921 he founded the Brook Green School of Art in Hammersmith, London, where pupils included Henry Moore and Eileen Agar. Underwood served in both the First and Second World Wars, and travelled extensively, seeking inspiration for his own work. He published Animalia while working in New York, and maintained a particular fascination for Mayan and Aztec sculpture, which he had seen in Mexico in 1928. Underwood also visited West Africa, subsequently publishing several books on African Art, as well as children's book Animalia (1926). Artists' Resale Right ("droit de suite") may apply to this lot.
** Stamp /stamps : An old maroon Strand Stamp. A good collection of old first/early issues of stamps, especially strong in Europe; some mint included. Among several quality (and high cv) countries are Denmark, German Empire, Italy Monaco and Spain and others. Also a few army censorship covers of WWI. Album.
TWO ARMAND MARSEILLE BISQUE HEAD BABY DOLLS, first one nape of neck marked 'A.M. Germany' but other details are obscured by body, sleeping eyes, open mouth showing two teeth, moulded hair, filled cloth body with composition hands, some wear, damage and discolouring, height approximately 43cm, second doll, nape of neck marked 'A.M. Germany 351/3K', sleeping eyes, open mouth showing two teeth, moulded hair, jointed composition body has some wear and damage, height approximately 31cm
TWO 1950'S PLASTIC DOLLS, no markers marking, first one has painted eyes and features, with moulded hair, pierced ears with hoop earrings, jointed body with minor wear, height approximately 35cm, the other has sleeping eyes, painted mouth, blonde hair, jointed body with some markings, height approximately 48cm, with a distressed plastic Indian Collectors doll and a quantity of 1950's seamstress made clothing
A Caughley ice pail, cover and inner liner, circa 1786-93, painted with the Dresden Flower pattern in underglaze blue with additional gilt overglaze detail, S mark, 26cm high (has been broken into 17 pieces and re-glued)Provenance: Purchased in 2007 from eBay. See Geoffrey Godden, Caughley & Worcester Porcelains 1775-1800 (1969), pl. 114 where the author speculates that the gilding was probably added by Chamberlain's of Worcester and p. 61 for the list of shapes.The first record of ice cream in this country is 1671 on the menu of a feast for the Knights of the Garter held in St. George's Hall at Windsor Castle. At this time it was considered such an exclusive dish that it appeared only on the king's table. The earliest printed recipe appeared in Mrs Eale's Receipts, a work on confectionary which was published in London, 1718. It was not until the second half of the 18th century that ices became more readily available from confectioner's shops, and these pails were commonly found on upper class homes' sideboards to be used for a dessert of ice cream with cut fruit. If ice alone is used to fill the cover and the bucket, the ice cream melts very quickly. Although there is nothing recorded in literature, it is almost certain that a little salt was sprinkled on the ice. Porcelain is the ideal material for ice cream pails as it is impervious to salt which improves the refrigerant effect. Experiments has shown that ice cream will remain in a frozen state for up to four hours in these ice pails if salt is added to both containers.After a time, a small amount of ice eventually forms on the exterior of the pail - usually causing condensation, and possible adhesion to the table cloth. It is therefore likely that these early pails would have been placed on a plate or stand. Later designs of these pails often had feet to prevent them freezing to the table, and these objects were rarely made beyond the year 1830.
Three mid-19th century English pearlware jugs, the first enamelled with parrots within silver lustre decoration, 14.5cm high, the second a similar example with additional bright enamels, 13.6cm high and the third transfer-printed in yellow chinoiserie against a brown ground (alternatively known as 'Portobello' ware), 14.5cm high (3)
A Caughley tart or patty pan transfer-printed with the Fruit and Wreath pattern, circa 1780-85, C mark, 10.3cm diameterProvenance: Wright Collection no.518, purchased from Sadler in 1996. This pan is illustrated in Godden pl.185 (left-hand side) where the same imperfection in the pattern can be seen.Food historians suggest that tarts were introduced first in Medieval Times. Unlike pies, these dishes were presented without a top crust which gave the opportunity to create a variety of colourful dishes which could be found either savoury or sweet. 18th century sources demonstrate the large amount of recipes catered towards this popular dish, which could contain anything from meat and vegetables to fruit or cheese.One source addresses the use of these pans directly, saying, 'If you bake in tin Patties, butter them, and you must put a little crust all over, because of the taking them out. If in china, or glass, no crust but the top one. Lay fine sugar at the bottom, then your plumbs, cherries, or any other sort of fruit, and sugar at top; then put on your lid, and bake them in a slack oven.'--The Art of Cookery Made Plain and Easy, Hannah Glasse, facsimile 1747 reprint [Prospect Books:Devon] 1995 (p. 75)
A Meissen style model of a Turkish Musician, 19th century, after a figure modelled by Peter Reinecke in 1745, modelled standing holding a guitar beneath his arm and wearing a turban, a white jacket over gilt tunic and black trousers, unmarked, 17cm high (restored)The figure of the Turk is based upon the engraving of 'Le Turc Amoureux' by Georg Friedrich Schmidt (1712-75), after a painting of around 1730 by Nicholas Lancret (1690-1743). The Meissen model is illustrated in R. Rückert, Meissener Porzellan (1966), no. 956, where he mentions that it was first referred to in the Meissen records in 1744.
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