Banksy (b.1974) BritishFestival (2006)screen print no 34 from an edition of 150 signed lower right & dated '06, numbered lower left 56 x 76cm (22 x 30in)Provenance: Pest Control Certificate of Authenticity accompanies this work; Private CollectionBanksy is an England-based graffiti artist, political activist and film director of unverified identity. His satirical street art and subversive epigrams combine dark humour with graffiti executed in a distinctive stenciling technique. His works of political and social commentary have been featured on streets, walls, and bridges of cities throughout the world. Banksy's work grew out of the Bristol underground scene, which involved collaborations between artists and musicians. Observers have noted that his style is similar to Blek le Rat, who began to work with stencils in 1981 in Paris. Banksy says that he was inspired by "3D", a graffiti artist who later became a founding member of Massive Attack, an English musical group. Banksy's first film, Exit Through the Gift Shop, billed as "the world's first street art disaster movie", made its debut at the 2010 Sundance Film Festival. The film was released in the UK on 5 March 2010. In January 2011, he was nominated for the Academy Award for Best Documentary for the film. In 2014, he was awarded Person of the Year at the 2014 Webby Awards
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Gladys MacCabe ROI FRSA MA HRUA (b.1918) Night at the Opera oil on board signed lower right 50 x 61cm (20 x 24in) Provenance: Private Collection Gladys MacCabe was born in County Antrim in 1918. One of her ancestors was a famous 18th-century Scottish painter, Sir George Chalmers. She had a picture published in the Royal Drawing Society's magazine when she was 16 years old and went on to study at the Belfast College of Art. In 1941 she married fellow artist and musician Max Maccabe (who died in 2000). Gladys and Max exhibited together on many occasions, starting in Ireland at Robinson & Cleaver in Belfast, 1942, and in England at the Kensington Art Gallery in 1949. Gladys and Max were members of the group of artists known as The Contemporary Ulster Group, which included Dan O'Neill, George Campbell, and Gerard Dillon. William Conor was also an associate and Gladys painted his portrait in 1957 (now hanging in the Ulster Folk Museum). She formed the Ulster Society of Women Artists in 1957, as she felt that there was an untapped wealth of talent among the women artists of Northern Ireland. The Society's first major exhibition was in the Belfast Museum and Art Gallery in 1959.
Mary Swanzy HRHA (1882-1978)Fantastical Figuresoil on board Mary Swanzy Studio Sale Stamp on reverse 21 x 31cm (8 x 12in)Provenance: The Mary Swanzy Studio Sale, Christies, London, 10th May 2007 Lot 319; Private CollectionMary Swanzy was born in Dublin in 1882. Swanzy attended Alexandra College, Earlsfort Terrace, and finishing school at the Lycée in Versailles, France, and a day school in Freiburg, Germany. This education meant that Swanzy was fluent in French and German. She went on to take art classes at May Mannings' studio, under the direction of John Butler Yeats. Manning encouraged Swanzy to study modelling with John Hughes at the Dublin Metropolitan School of Art. Swanzy's first exhibition was with the Royal Hibernian Academy (RHA) in 1905 and she continued to exhibit portraits every year until 1910. In 1905 she went to Paris, and worked at the Delacluse studio. She went on to attend the studio of Antonio de La Gándara in 1906, and took classes at Académie de la Grande Chaumière and Académie Colarossi. Whilst in Paris Swanzy was exposed to the works of Gauguin, Matisse, and Picasso, which made a lasting impression on her. Unlike fellow Irish cubists Evie Hone and Mainie Jellett, she was not concerned with traditional Irish art or themes, opting to foster her own distinctive style.
Hughie O'Donoghue RA (b.1953)Red Earth VI (1995)oil on canvas signed, titled & dated 1995 on reverse 218½ x 195½cm (85 x 76in)Provenance: Archeus / Post Modern Gallery, London; Private CollectionExhibited: Andata e Ritorno: British Artists in Italy 1890-1996; Royal Albert Memorial Museum , Exeter, 6th July - 3rd August 1996Although born in Manchester, as was his father, Hughie O'Donoghue is considered to be an Irish artist, not least by himself. Born of an Irish mother and of Irish descent on his father's side, he spent much of his childhood in Co. Mayo. O'Donoghue studied at Goldsmiths College and upon graduation became artist-in-residence, first at Drax power station in Yorkshire and then, in London's National Gallery. O'Donoghue's work is concerned with history, and he has presented this concern variously throughout his career. His early, monumental series' Sleeper and Red Earth interpret the history of the ground itself, exploring what the soil may hold and why: examining the bodies placed in it or that may have fallen or otherwise come to be there. His father's experiences throughout the Second World War became a starting point for a prodigious consideration of that period through the medium of richly surfaced paint. History as memory is another facet of this muse. O'Donoghue's works are held in important collections in Ireland, Great Britian, Australia and the USA.
Arthur Wardle (1864-1949) BritishFriendsoil on canvas signed lower centre 46 x 36cm (18 x 14in)Provenance: Christies, 10th June 2004, Lot 174; Private CollectionArthur Wardle was born in London in 1864. At the age of just sixteen he had a piece displayed at the Royal Academy. His first exhibit was a study of cattle by the River Thames, leading to a lifelong interest in painting animals. He painted a variety of animal subjects with equal skill but his work may be divided into two categories, domestic and exotic animals. Wardle exhibited more than 100 works at the Royal Academy, as well as the Society of British Artists at Suffolk Street. He was elected to the Pastel Society in 1911 and became a member of the Royal Institute of Painters in Water Colours in 1922. In 1931 he held his first one-man exhibition at the Fine Art Society and in 1935 the Vicar's Gallery put on an exhibition of his work. He also exhibited in Paris.
Peter Curling (b.1955)The Last Furlongwatercolour signed lower left 30½ x 53½cm (12 x 21in)Provenance: Private CollectionPeter Curling was born in Waterford in 1955. Curling showed a precocious early talent and had his first exhibition in the racing centre of Lambourn at the tender age of fourteen. Sell out exhibitions in Dublin followed and it wasn't long before he came to the attention of Aylmer Tryon, founder of the Tryon Gallery and the renowned horse portraitist Susan Crawford. They advised him to go to Florence where he spent two years studying in the studio of Signorina Simi.This classical training stood him in good stead as he has always placed the utmost importance in sound draughtsmanship. It was to this end that he spent a short but invaluable time with the sculptor John Skeaping R.A.. Skeaping impressed on the young artist the value of economy of line and the ultimate goal of depicting movement, balance and a solidity of form without lumbering the work with too much detail.Curling also developed a close link with the racing world and has enjoyed the whole spectrum of that fascinating sport from riding in races to ownership, training point-to-pointers, and stewarding.
Donald Teskey RHA (b.1956)Amtrak Drawing No.1 (Bridge & Tunnel People) (2007)diptych charcoal on paper signed lower right & dated 2007 105 x 150cm (41 x 59in)Provenance: First Art Ltd, London (label verso) where purchased by the present ownerDonald Teskey was born in Co. Limerick in 1956. He graduated from Limerick College of Art and Design with a Diploma in Fine Art in 1978. He came to prominence as an artist during the 1980s, with several significant solo exhibitions as well as being the recipient of awards in EVA and the Claremorris Open Exhibition. In 2003 he was elected a member of the Royal Hibernian Academy. The images reflect his response to the formal elements of composition; shape, form and the fall of light. Works are made in his studio but based on extensive studies and detailed notes. The result is powerful images of instantly recognisable parts of the landscape and cityscapes with large abstract passages and surfaces which articulate the relentless energetic and elemental force of nature.
Bottle of Royal Welsh Whisky from the Welsh Whiskey Distillery, circa 1900, the label reading: 'As Supplies to HM the Queen and HRH the Prince of Wales' and 'It is distilled with the greatest possible care from malt only and is absolutely pure, connoisseurs pronounce it quite unique and as a wholesome stimulant it is very highly recommended, together with certificate of analysis on label from the Principal of the Liverpool College of Chemistry. Proprietor William Owen, White Lion Royal Hotel, Bala, North Wales'. Together with a Royal Welsh Whisky poster depicting Welsh lady in landscape with banner and distillery location details, framed and glazed photograph of a whisky cask filled with Welsh whisky from the first distillery, erected in the Principality which was sent by gracious permission to Her Majesty the Queen at Windsor Castle, February 25th, 1891, by A & G Taylor, photographers to the Queen, with special Royal Warrant stamp and address, Welsh Whisky pamphlet detailing the history, photograph of the collection of whisky bottles, the current vendors parents owned, and letters detailing how the current owner's father purchased the whisky for £5.00 a bottle in the late '60s after seeing a newspaper article, (attached). CONDITION REPORT: Liquid level in lower neck, from the letter from the previous owner, Mr Wigfield, he mentions the whisky being re-corked in 1952, label present although slightly coming away from bottle, some chippings, slightly dirty but present, poster has two significant rips to either side, paperwork and other ephemera okay.
Russian Dagger Kindjal, first half of the 20th century, straight double edge blade cut with 3 fullers, silver covered hilt and sheath the front gilt and decorated with filigree and niello, rear with some nielloed lines. Blade 32cms. Good condition, some wear overall, one rivet head missing from hilt.
OLD GRANTOWN WHISKY PUB JUG. 6ins tall, white glaze, bulbous body with 4 way pouring rim, black transfer OLD GRANTOWN/ WHISKY WILLIAM WHITELEY DISTILLER/ GRANTOWN-ON-SPEY both sides. OLD GRANTOWN WHISKY to front. Fieldings Stoke on Trent p.m. I believe the first of these we have ever sold? Very good. NR
TWO CLARE BROWNLOW HARE CUSHIONSone large square, 39cm x 39cm and one rectangle, 26cm x 44cm, each with a contrasting grey backingNote: Clare Brownlow studies at Edinburgh School of Art and Leith School of Art where she specialised in atmospheric oil paintings. However, it was after the birth of her first son that her unique style of Pheasant Feather Art was born when she picked up a pheasant feather, dipped it in some fountain pen ink and started doodling. She now paints a variety of wildlife using this art form. She was shortlisted in 2014 for the Wildlife Artist of the Year.
STUDY OF A GROUSE HEAD BY CLARE BROWNLOWan original watercolour using pheasant feathers, signed and framed, image size 28cm x 40cm, frame size 47.5cm x 58.5cmNote: Clare Brownlow studies at Edinburgh School of Art and Leith School of Art where she specialised in atmospheric oil paintings. However, it was after the birth of her first son that her unique style of Pheasant Feather Art was born when she picked up a pheasant feather, dipped it in some fountain pen ink and started doodling. She now paints a variety of wildlife using this art form. She was shortlisted in 2014 for the Wildlife Artist of the Year.
TWO CLARE BROWNLOW PHEASANT CUSHIONSone large square, 39cm x 39cm and one rectangle, 26cm x 44cm, each with a contrasting purple backingNote: Clare Brownlow studies at Edinburgh School of Art and Leith School of Art where she specialised in atmospheric oil paintings. However, it was after the birth of her first son that her unique style of Pheasant Feather Art was born when she picked up a pheasant feather, dipped it in some fountain pen ink and started doodling. She now paints a variety of wildlife using this art form. She was shortlisted in 2014 for the Wildlife Artist of the Year.
CLARE BROWNLOW SCENTED CANDLEwith the festive scent of Lichen Berry, in a tin decorated with Robins and hollyNote: Clare Brownlow studies at Edinburgh School of Art and Leith School of Art where she specialised in atmospheric oil paintings. However, it was after the birth of her first son that her unique style of Pheasant Feather Art was born when she picked up a pheasant feather, dipped it in some fountain pen ink and started doodling. She now paints a variety of wildlife using this art form. She was shortlisted in 2014 for the Wildlife Artist of the Year.
PAIR OF CLARE BROWNLOW COFFEE CANS decorated with festive robins and hollyNote: Clare Brownlow studies at Edinburgh School of Art and Leith School of Art where she specialised in atmospheric oil paintings. However, it was after the birth of her first son that her unique style of Pheasant Feather Art was born when she picked up a pheasant feather, dipped it in some fountain pen ink and started doodling. She now paints a variety of wildlife using this art form. She was shortlisted in 2014 for the Wildlife Artist of the Year.
CLARE BROWNLOW SCENTED CANDLEwith the festive scent of Lichen Berry, in a tin decorated with Robins and hollyNote: Clare Brownlow studies at Edinburgh School of Art and Leith School of Art where she specialised in atmospheric oil paintings. However, it was after the birth of her first son that her unique style of Pheasant Feather Art was born when she picked up a pheasant feather, dipped it in some fountain pen ink and started doodling. She now paints a variety of wildlife using this art form. She was shortlisted in 2014 for the Wildlife Artist of the Year.
TWO CLARE BROWNLOW BUMBLE BEE CUSHIONSone large square, 39cm x 39cm and one rectangle, 26cm x 44cm, each with a contrasting grey backingNote: Clare Brownlow studies at Edinburgh School of Art and Leith School of Art where she specialised in atmospheric oil paintings. However, it was after the birth of her first son that her unique style of Pheasant Feather Art was born when she picked up a pheasant feather, dipped it in some fountain pen ink and started doodling. She now paints a variety of wildlife using this art form. She was shortlisted in 2014 for the Wildlife Artist of the Year.
STUDY OF A CAPERCALLIE BY CLARE BROWNLOWan original watercolour using pheasant feathers, signed and framed, image size 41cm x 58.5cm, frame size 68.5cm x 85cmNote: Clare Brownlow studies at Edinburgh School of Art and Leith School of Art where she specialised in atmospheric oil paintings. However, it was after the birth of her first son that her unique style of Pheasant Feather Art was born when she picked up a pheasant feather, dipped it in some fountain pen ink and started doodling. She now paints a variety of wildlife using this art form. She was shortlisted in 2014 for the Wildlife Artist of the Year.
FIGHTING PHEASANTS BY CLARE BROWNLOWan original watercolour using pheasant feathers, signed and framed, image size 54cm x 71cm, frame size 84cm x 100cmNote: Clare Brownlow studies at Edinburgh School of Art and Leith School of Art where she specialised in atmospheric oil paintings. However, it was after the birth of her first son that her unique style of Pheasant Feather Art was born when she picked up a pheasant feather, dipped it in some fountain pen ink and started doodling. She now paints a variety of wildlife using this art form. She was shortlisted in 2014 for the Wildlife Artist of the Year.
CLARE BROWNLOW SCENTED CANDLEwith the festive scent of Lichen Berry, in a tin decorated with Robins and hollyNote: Clare Brownlow studies at Edinburgh School of Art and Leith School of Art where she specialised in atmospheric oil paintings. However, it was after the birth of her first son that her unique style of Pheasant Feather Art was born when she picked up a pheasant feather, dipped it in some fountain pen ink and started doodling. She now paints a variety of wildlife using this art form. She was shortlisted in 2014 for the Wildlife Artist of the Year.
PAIR OF CLARE BROWNLOW COFFEE CANS decorated with festive robins and hollyNote: Clare Brownlow studies at Edinburgh School of Art and Leith School of Art where she specialised in atmospheric oil paintings. However, it was after the birth of her first son that her unique style of Pheasant Feather Art was born when she picked up a pheasant feather, dipped it in some fountain pen ink and started doodling. She now paints a variety of wildlife using this art form. She was shortlisted in 2014 for the Wildlife Artist of the Year.
STUDY OF A WOODCOCK HEAD BY CLARE BROWNLOWan original watercolour using pheasant feathers, signed and framed, image size 28cm x 40cm, frame size 47.5cm x 58.5cmNote: Clare Brownlow studies at Edinburgh School of Art and Leith School of Art where she specialised in atmospheric oil paintings. However, it was after the birth of her first son that her unique style of Pheasant Feather Art was born when she picked up a pheasant feather, dipped it in some fountain pen ink and started doodling. She now paints a variety of wildlife using this art form. She was shortlisted in 2014 for the Wildlife Artist of the Year.
STUDY OF A CAPERCALLIE HEAD BY CLARE BROWNLOWan original watercolour using pheasant feathers, signed and framed, image size 28cm x 40cm, frame size 47.5cm x 58.5cmNote: Clare Brownlow studies at Edinburgh School of Art and Leith School of Art where she specialised in atmospheric oil paintings. However, it was after the birth of her first son that her unique style of Pheasant Feather Art was born when she picked up a pheasant feather, dipped it in some fountain pen ink and started doodling. She now paints a variety of wildlife using this art form. She was shortlisted in 2014 for the Wildlife Artist of the Year.
ENGLISH GREY PARTRIDGE BY CLARE BROWNLOWan original watercolour using pheasant feathers, signed and framed, image size 28cm x 40cm, frame size 47.5cm x 58.5cmNote: Clare Brownlow studies at Edinburgh School of Art and Leith School of Art where she specialised in atmospheric oil paintings. However, it was after the birth of her first son that her unique style of Pheasant Feather Art was born when she picked up a pheasant feather, dipped it in some fountain pen ink and started doodling. She now paints a variety of wildlife using this art form. She was shortlisted in 2014 for the Wildlife Artist of the Year.
FRENCH PARTRIDGE BY CLARE BROWNLOWan original watercolour using pheasant feathers, signed and framed, image size 28cm x 40cm, frame size 47.5cm x 58.5cmNote: Clare Brownlow studies at Edinburgh School of Art and Leith School of Art where she specialised in atmospheric oil paintings. However, it was after the birth of her first son that her unique style of Pheasant Feather Art was born when she picked up a pheasant feather, dipped it in some fountain pen ink and started doodling. She now paints a variety of wildlife using this art form. She was shortlisted in 2014 for the Wildlife Artist of the Year.
George Taylor of Edinburgh carved oak full-size snooker table with turned legs.Notes: This table is available for viewing by appointment only, on Friday 2nd December (details can be supplied on request). It is situated on the first floor of the property, near Twynholm, and the responsibility for the collection is solely that of the successful purchaser. For a quote please contact Austin Brook-Smith of Thistle Removals on 07808 953882.
Two Vintage alligator clutch bags and a Vintage snakeskin handbag The first of tapered triform, the variegated tan to dark brown skin, with exposed stitching and side loop fastening, with leather lining, 17cm x 31cm, the second of square form, the alligator head forming the front flap, 19cm x 22cm. Together with a tapered square section brown tan bag with short loop handle and brass fittings, the suede interior with side pocket detailing, 18cm x 25cm. (3)
Local Directories: 1. J.G.Harrod & Co. Postal and Commercial directory of Norfolk and Norwich. 1863. Binding poor, no spine and pages loose, some staining and foxing. 2. White's History, Gazetteer & Directory of Norfolk, 1864. First 14 pages are facsimile, rebound with some foxing and discolouration. 3. Kelly's Directory of Norfolk for: 1883 ( Binding poor, no spine, edges torn, pages foxed and sunned); 1892 (torn spine, cover torn and stained, maps tor, pages sunned); 1916 (Library binding, pages discoloured but in good condition); 1929 (Library binding, pages discoloured but good condition); 1925 (original binding, repaired, slight discolouration, edges foxed). Kelly's Directory for Norfolk & Suffolk 1888 (spine rebound, original boards, page edges stained red, discolouration but good condition); 1900 (original binding torn, spine loose and torn, foxing and discolouration); 1904 (Library binding with some repairs, some wear but gd condition); 1933 (Library binding some wear but gd condition). Kelly Directory of Cambridgeshire, Norfolk and Suffolk with maps, 1925. (Binding missing front board, spine loose and torn, light foxing) 4. Post Office Directory of Norfolk & Suffolk 1858 (Library binding, light foxing with sunned pages). All books show signs of wear and have torn maps.
1.Carter ( Will and Sebastian) Rampant Lion Press miscellany, copy no. 179 of 185 printed, quarter cloth & label over patterned paper boards. Includes display of completed projects. Rampant Lion Press, 19882.Carter (Sebastian) Miscellany 2, no. 44 of 225 copies, quarter bound in cloth with patterned boards, Rampant Lion Press, 1998 3 Farrow (John) Seven poems in pattern, one of 250. Bound in marbled boards with buckram spine. Rampant Lion Press, 19554.Carter (Will) The first 10, with green card covers. Pages becoming loose at bottom of spine. Rampant Lion Press, nd (1958/9)5.Book of Jonah, copy no. 258 of 300, out of 410. Contains engravings on wood by David Jones. Cloth spine with patterned paper boards. Chilmark press 19796. Reed (Henry) Lessons of the war, copy no. 204 of 530 copies, bound in patterned paper with cloth spine. Chilmark press, 1970 7.Trypanis (C.A.) Elegies of a glass Adonis. No. 269 of 450 bound in green card. Signed by author , Chilmark Press, 19678.Cleverdon (Douglas) Stanley Morison and Eric Gill 1925-1933, 230 copies printed (this one marked ofs). Soft cover with sewn marbled paper covered wrappers, black and white plates. Rampant lions Press, 1983plus additional works: Portfolio 1, 2, and 3, (card case slightly faded), Ecclesiastes, copy 141 of 150 copies, Rampant Lions Press: a printing workshop through five decades, Will Carter, printer and Poems and songs of Sir Richard Hyton
Topographical Europe1.Picturesque Mediterranean (4 Vols.), bound in maroon cloth with gilt on lettering and page edging plus front cover decoration. Special edition, full-page engravings and many monochrome illustrations throughout. Slight rubbing to the corners, edges, and the spine ends, slight spine lean, foxing to the rear, Presentation plate on inside covers (dated 1898). Cassell & Company, No date2.Picturesque Europe: The British Isles, Divisions I-II, bound in salmon cloth (Slight rubbing to the corners, edges) with gilt lettering and picture decoration on front cover. Page edgings in gilt. Contains many full page and in text engravings, many by Birket Foster. Cassell & Company, no date3.Picturesque Europe, bound in salmon cloth (Slight rubbing to the corners, edges) with gilt lettering and picture decoration on front cover. Page edging in gilt. Contains many full page and in text engravings, many by Birket Foster. No contents list, text is on Scotland, Ireland and England. Cassell & Company, No date4.Bagot (Richard) The Italian Lakes, London: bound in blue cloth boards with gilt title and detail to front and spine, top edge gilt, Illustrations by Ella Du Cane. Foxing to page edges and some pages, wear to spine and corners. Adam & Charles Black, 1912.5.Scott (W) The Riviera, First Edition. Bound in blue decorative cloth with gilt, red and green, gilt page tops, Illustrated with colour plates, wear to binding and corners,, endpapers foxed. Adam & Charles Black, 19076.Lentheric (Charles) The Riviera. Bound in brown cloth, scuffed, with maps, Fisher Unwin, 18957.Biscombe Gardner (W) Kent water-colours. Black, 19278.Villars (P) Scotland & Ireland. Bound in blue cloth with illustrated front cover. Gilt edge pages. 150 illustrations and inscription. Routledge, 18889.Matthison (W) Cambridge, Black, First edition. Blue cloth boards decorated with vertical stripes and with gilt titles and other decoration. Gilt spine titles are dulled and cover worn at edges, coloured illustrations, Black, 190710.Hope Moncrieff (A) Surrey , Blue cloth; the upper board with gilt lettering within an ornate gilt, black and green framework slightly dulled, spine rather faded; the corners bumped. Slight foxing inside. Black, 190611.Fulleylove (John) Oxford, Blue cloth covers, wear to spine, gilt title and gilt university badges. Some foxing particularly to the end papers, illustrations are free of any foxing. Black, 1903
1. Yorke (Malcolm) The artistry of Leslie Cole today I worked well - the picture fell off the brush. One of 500 copies bound in dark blue marbled paper over cloth boards. Illustrated throughout in colour plus biographical photographs. Background commentary and history of Cole's artwork and also a short biography of his wife, Brenda Harvey. Fleece Press, 2010 ( Includes pre-publication booklet) 2. Lee (Brian North) Dearest Joana: a selection of Joan Hassall's lifetime letters and art, one of 260 out of a total of 300, 2 vols, bound in marbled paper from Venice, with cloth spine (Vol. 2 has a few red marks on the spine). Illustrated with examples of the artist's work, including 60 wood engravings, many designs for dust jackets, bookplates, book illustrations, Christmas cards, postage stamps, etc., Slip-case, Fleece press, 2000 (Includes pre-publication booklet) 3. Blythe (Ronald) First friends: Paul and Bunty, John and Christine - Carrington, one of 300 copies quarter-bound in ochre cloth and a blue Paul Nash patterned paper over boards, paper title label to the spine. Contains letters, photos, drawings and paintings (many in colour and many tipped-in), slip-case, Fleece Press, 1997 (Includes pre-publication booklet) 4. Lee (Brian N) Jon Hassall. One of 200 bound in red card. Funeral address. Small booklet. Fleece Press, 1998
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