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Click here to subscribeUPTON, Bertha (1849-1912). The Golliwogg`s "Auto-Go-Cart". London: Longmans, Green & Co., 1901. Oblong 4to (215 x 280mm). Illustrations, most coloured and full-page, by Florence K. Upton. Original green cloth-backed coloured pictorial paper boards (extremities lightly rubbed). Provenance: "From Father Christmas 1901" (inscription on front free endpaper). FIRST EDITION
WARE, Martin (b.1946, artist). Rimbaud. Six Poems. London: World`s End Press, [1972]. 4to (395 x 290mm). 6 coloured etched plates by Martin Ware, each signed and numbered 1/50 by the artist, prospectus for the work loosely inserted. Original printed wrappers, coloured decorated folder. NUMBER ONE OF 50 COPIES SIGNED BY THE ARTIST, and further inscribed, "For Greta Johnston, who bought the first one - with best regards, Martin, Nov. 14 `72." With 2 other books, Aylmer Vallance`s The Decorative Art of Sir Edward Burne-Jones (London, 1900) and John Gawsworth`s Above the River (London, 1932, ONE OF 85 COPIES, signed by the author and others). (3)
A. J. Annedouche (French, 1833-after 1902), after William Bouguereau`Innocence` and `Cupid`s Whispers`etchings, the first signed by both artist and engraver, published 1895 and 1894 by Arthur Tooth & Sonsunframed, 42 x 22 cm (16 x 8 1/2 in) and 42 x 25.5 cm (16 1/2 x 10 in)together with `First Whispers of Love`, engraved by John D. Miller, signed by both artist and engraver, unframed (3)
A framed group of four Chinese black and white machine-woven silk panels, by the Dongfanghong factory, Hangzhou, China, portraying Chairman Comrade Mao Zedong, three panels obverse, one reverse thus in negative, each panel 16 x 10.5cm (6 1/4 x 4 1/4in), together with `Quotations from Chairman Mao Tse-Tung` in English, first edition 1966
Gerard Dillon (1916-1971)WASHER WOMEN, 1948watercoloursigned and dated lower rightLandscaPortraite9.75 by 13.5in., 24.375 by 33.75cm.In the summer of 1947 Dillon was invited to Italy by Pino Sagliettu, where he stayed in his family home in Borgotaro in the North. It was his first visit to mainland Europe and the Italian way of life fascinated the artist. While there he visited Florence, Lucca and Parma. For further reading see: White, James, Gerard Dillon, An Illustrated Biography, Wolfhound Press, Dublin, 1994, p.58-61
Daniel O’Neill (1920-1974)INTERIOR WITH NUDEoil on boardsigned lower right; inscribed with title on reverse; titled on Waddington Galleries [Montreal] label also on reverseLandscaPortraite18 by 24in., 45 by 60cm.Waddington Galleries, Montreal;The Collection of Mervyn & Pat SolomonDaniel O`Neill exhibited at the Waddington Galleries between 1946 and 1955. After leaving Ireland in 1958 to move to London he exhibited with the Waddington Gallery in Montreal, Canada. During this period he also exhibited in New York (1947), in Beverly Hills, California (1948) and in a group show in Amsterdam. George Waddington, who was Victor`s youngest brother, worked in the Dublin Gallery but when Victor moved to London, George decided to move to Montreal where he opened Waddington Galleries Inc in 1959.Mervyn and Pat Solomon have been known in the art world as passionate collectors of art for generations. From Belfast, the family name is also synonymous with the music industry, Mervyn`s father being one of the duo Solomon & Peres (Morris Solomon and Harold Peres) music and entertainment retailers, distributors and producers based in Belfast between 1924-1981, later acquired by Decca Records. Mervyn himself founded Emerald Music in 1964 and was the first person to record Rory Gallagher and Van Morrison.The present collection demonstrates a support for Northern visual artists: Frank McKelvey, Daniel O`Neill, Colin Middleton, Tom Carr, Cecil Maguire, Martin Mooney, Markey Robinson and a clear interest in Irish artists working abroad, in Roderic O`Conor and Aloysius O`Kelly. Contemporary names such as Sandra Bell and Michael Leventis are evidence of an appreciation of later trends.
Roderic O`Conor (1860-1940)LA MAISON DU PENDU AU POULDU, BEACH WITH CLIFFS AND A YACHT, 1893 and DEUX FEMMES DE PROFIL DANS UN PAYSAGE (SET OF 3)etching; (2); lithograph; (1)the first, stamped within the image lower right; inscribed [1/30 / Tirage 81] in pencil in the margin lower right; the second, signed and dated in the plate; the third signed in the plate lower leftLandscaPortraite5.5 by 9in., 13.75 by 22.5cm.Deux Femmes de Profil dans un Paysage: Purchased by Mervyn & Pat Solomon, 1984La Maison du Pendu au Pouldu: Musée de Pont-Aven, 1984, catalogue no. 78 (another edition) (illustrated p.53)Deux Femmes de Profil dans un Paysage: L`École de Pont-Aven dans les Collections publiques et privées de Bretagne, Musée Des Beaux-Arts, Quimper, Rennes, Nantes, 1978-1979, catalogue no. 74 (illustrated); Musée de Pont-Aven, 1984, catalogue no. 84 (illustrated p.53); `Roderic O`Conor 1860-1940`, Barbican Art Gallery, London, Ulster Museum, Belfast, National Gallery of Ireland and Whitworth Art Gallery, Manchester, from September 1985 to May 1986 (all other editions)La Maison du Pendu au Pouldu:Johnston, Roy, Roderic O`Conor 1860-1940, Barbican Art Gallery, London and Ulster Museum, Belfast, 1985, catalogue no. 102 (illustrated p.113); Benington, Jonathan, Roderic O`Conor, Irish Academic Press, Dublin, 1992, catalogue no. 419, illustrated p.56Deux Femmes de Profil dans un Paysage:Jaworska, W., kregu Gauguina malarze szkoly Pont-Aven, Warsaw, 1969; English translation, Gauguin and the Pont-Aven School, Boston, 1972, p.224 (illustrated); Johnston, Roy, Roderic O`Conor 1860-1940, Barbican Art Gallery, London and Ulster Museum, Belfast, 1985, catalogue no. 114 (illustrated p.113)The lithograph within this lot is one of only two examples known in this medium. It is thought to have been printed in 1898. Dimensions of Beach with Cliffs and a Yacht, 1893 and Deux Femmes de Profil dans un Paysage, 9.75 by 15.25 and 7.50 by 6.75ins., respectively.An edition of Deux Femmes de Profil dans un Paysage can be found in the collection of Musée Des Beaux-Arts, Quimper.This group of eleven oil paintings and etchings by Roderic O`Conor spans thirty years of the artist`s career, encompassing many of his favourite subjects and deploying the entire repertoire of expressive gestures and marks and the high-keyed palette for which he has become famous. The collection moves in time as well as place: from the windswept rocky coastline of Finistère in 1893 (see lots 42 & 44), to the shaded, tree-lined roads near Barbizon in 1902, to the life models and domestic objects of O`Conor`s Parisian studio, and finally to the craggy peaks of the Côte d`Azur. There is even a work that melds the normally distinct genres of figure and landscape, namely the lithograph Two Women in Profile in a Landscape (lot 42), the descriptive title of which belies its innovative conception and its boldly simplified forms.O`Conor`s experimental rigour pervades this entire group of works - he was never a man to go for the easy option of academic realism. With their impulsive, whipped lines, the four etchings evince the clash of the elements on the storm-torn coast of Brittany, an alien and barren terrain that acquires, at the hands of O`Conor, the appearance of a lunar landscape. When he positions the horizon line lower down the copper plate, he manages to make even the clouds appear tortured. At this early date (1893), the Irishman was looking to Van Gogh for inspiration, especially the rhythmic bands of pure colour that energised the Dutchman`s St Remy and Arles landscapes. In 1908 O`Conor would pay verbal tribute to Van Gogh`s paintings as wonderful examples of expression of character pushed to the point of hallucination." Just a few years earlier, on a visit to Montigny-sur-Loing, he articulated the foliage, sky and grassy bank of his oil painting, Avenue of Trees (lot 39) with alternating stripes of colour, just as he had done a decade earlier in Pont-Aven.Whilst the predominant mood of these early works might be characterised as controlled anarchy, at least in the handling of paint, O`Conor was also capable of extracting subtlety and understatement from his colours. This is nowhere more apparent than in Chrysanthemums (lot 38), dating from 1896, when he was rethinking his art in the solitude of the little Breton town of Rochefort-en-terre. Here the feathery touch and carefully orchestrated colour harmonies (red predominating) recall no-one so much as Auguste Renoir, who visited Pont-Aven with his family in 1892 and was eulogised in the exchange of letters between Armand Seguin and O`Conor later in the decade. Similarly, the way O`Conor contrasts the softly blended brushstrokes describing the limbs and torso of the nude in Nu allongé (lot 37) with a more painterly approach in the foreground recalls Renoir`s late paintings of bathers.O`Conor`s affinity for the primitive life Brittany offered sometimes found an echo in pictures from his early years in Paris. In Nature morte (lot 36) of 1909, hand-painted Breton faïence, a white napkin and some fruit are partnered with an English posset pot, creating a homely assemblage that recalls, in its carefully articulated geometry, Cézanne`s famous admonition to "treat nature by means of the cylinder, the sphere, the cone." A few years later in date, the small panel painting Montagne Sainte-Victoire (lot 43) demonstrates how the lure of the South, as celebrated in Cézanne`s landscapes of his native Aix-en-Provence, became too much for O`Conor to resist. Here, using colour modulations at the expense of detail, he achieves the monumental, notwithstanding the small scale. In the years following the WWI, O`Conor continued to paint female models and still lifes, albeit without returning to the Post-Impressionist idiom of his pre-war years. This new development is demonstrated to good effect in Seated Model (lot 40), where the dramatic transverse lighting and the use of the palette knife to accentuate the modelling of forms are in keeping with the methods of the so-called École de Paris - painters such as Dunoyer de Segonzac, Chaïm Soutine and Maurice de Vlaminck. In the background of O`Conor`s portrait one can just glimpse his cast of Daumier`s bronze sculpture, Les emigrants, as if by way of homage from one dedicated interpreter of the human clay to another.Jonathan BeningtonFebruary 2013"
Roderic O`Conor (1860-1940)HOUSE ABOVE THE CLIFF, SUNLIGHT THROUGH THE CLOUDS and LE VERGER, c.1893 (SET OF 3)etching; (1) etching and drypoint; (2)the first with Barbican Art Gallery exhibition label on reverse; the second signed and dated in the plate lower right; inscribed [2/30/ Tirage 81] in pencil in the margin lower right; third signed in the plate lower leftLandscaPortraite10.5 by 13.25in., 26.25 by 33.125cm.(First) possibly, Hôtel Drouat Salle I, Paul Renard;The Collection of Mervyn & Pat Solomon(First) Pont Aven 1984 (another edition); London, 1985 (another edition)(Second) `L`estampe en Bretagne`, Musée des Beaux-Arts, Nantes, 1974, catalogue no. 145; Quimper, 1978, no. 72); Pont-Aven, 1984, no. 71; London, 1989, no. 0.7; Paris, 1989, no. 134 (other editions)Benington, Jonathan, Roderic O`Conor, Irish Academic Press, Dublin, 1992, catalogue nos. 441 and 430, respectively (both illustrated p.55); Johnston Roy, Roderic O`Conor, catalogue de l`oeuvre grave, Musée de Pont-Aven, 1999, no. 15 (illustrated)Le Verger was conceived in 1893. The original plate for the present work was sold at Hôtel Drouot, 17 November 1975 (lot 172, no. 4). From that plate later re-strikes were made in 1981 by Paul Prouté S.A. in an edition of 100. Dimensions of second title: 10.50 by 13.25in.This group of eleven oil paintings and etchings by Roderic O`Conor spans thirty years of the artist`s career, encompassing many of his favourite subjects and deploying the entire repertoire of expressive gestures and marks and the high-keyed palette for which he has become famous. The collection moves in time as well as place: from the windswept rocky coastline of Finistère in 1893 (see lots 42 & 44), to the shaded, tree-lined roads near Barbizon in 1902, to the life models and domestic objects of O`Conor`s Parisian studio, and finally to the craggy peaks of the Côte d`Azur. There is even a work that melds the normally distinct genres of figure and landscape, namely the lithograph Two Women in Profile in a Landscape (lot 42), the descriptive title of which belies its innovative conception and its boldly simplified forms.O`Conor`s experimental rigour pervades this entire group of works - he was never a man to go for the easy option of academic realism. With their impulsive, whipped lines, the four etchings evince the clash of the elements on the storm-torn coast of Brittany, an alien and barren terrain that acquires, at the hands of O`Conor, the appearance of a lunar landscape. When he positions the horizon line lower down the copper plate, he manages to make even the clouds appear tortured. At this early date (1893), the Irishman was looking to Van Gogh for inspiration, especially the rhythmic bands of pure colour that energised the Dutchman`s St Remy and Arles landscapes. In 1908 O`Conor would pay verbal tribute to Van Gogh`s paintings as wonderful examples of expression of character pushed to the point of hallucination." Just a few years earlier, on a visit to Montigny-sur-Loing, he articulated the foliage, sky and grassy bank of his oil painting, Avenue of Trees (lot 39) with alternating stripes of colour, just as he had done a decade earlier in Pont-Aven.Whilst the predominant mood of these early works might be characterised as controlled anarchy, at least in the handling of paint, O`Conor was also capable of extracting subtlety and understatement from his colours. This is nowhere more apparent than in Chrysanthemums (lot 38), dating from 1896, when he was rethinking his art in the solitude of the little Breton town of Rochefort-en-terre. Here the feathery touch and carefully orchestrated colour harmonies (red predominating) recall no-one so much as Auguste Renoir, who visited Pont-Aven with his family in 1892 and was eulogised in the exchange of letters between Armand Seguin and O`Conor later in the decade. Similarly, the way O`Conor contrasts the softly blended brushstrokes describing the limbs and torso of the nude in Nu allongé (lot 37) with a more painterly approach in the foreground recalls Renoir`s late paintings of bathers.O`Conor`s affinity for the primitive life Brittany offered sometimes found an echo in pictures from his early years in Paris. In Nature morte (lot 36) of 1909, hand-painted Breton faïence, a white napkin and some fruit are partnered with an English posset pot, creating a homely assemblage that recalls, in its carefully articulated geometry, Cézanne`s famous admonition to "treat nature by means of the cylinder, the sphere, the cone." A few years later in date, the small panel painting Montagne Sainte-Victoire (lot 43) demonstrates how the lure of the South, as celebrated in Cézanne`s landscapes of his native Aix-en-Provence, became too much for O`Conor to resist. Here, using colour modulations at the expense of detail, he achieves the monumental, notwithstanding the small scale. In the years following the WWI, O`Conor continued to paint female models and still lifes, albeit without returning to the Post-Impressionist idiom of his pre-war years. This new development is demonstrated to good effect in Seated Model (lot 40), where the dramatic transverse lighting and the use of the palette knife to accentuate the modelling of forms are in keeping with the methods of the so-called École de Paris - painters such as Dunoyer de Segonzac, Chaïm Soutine and Maurice de Vlaminck. In the background of O`Conor`s portrait one can just glimpse his cast of Daumier`s bronze sculpture, Les emigrants, as if by way of homage from one dedicated interpreter of the human clay to another.Jonathan BeningtonFebruary 2013"
Aloysius C. O’Kelly (1853-1936)ENGLISH PEASANT CHOPPING SWEDES, c.1887-1888oil on canvassigned lower right; with original label preserved on reverse, numbered [38]Portrait27 by 20in., 67.5 by 50cm.The Collection of Mervyn & Pat SolomonAloysius O`Kelly (1853-1936) was born in Dublin as Aloysius Kelly, and immigrated to London in 1861, where he adopted the prefix O`. O`Kelly belonged to a Fenian family. His older brothers, James, Charles and Stephen, were all Fenians, and sculptors (trained by their uncle, John Lawlor, the well-known Irish sculptor in London). O`Kelly lived a life of art and sedition, operating as a painter and activist in Ireland, Britain, France and the United States, as well as in outposts of the empire, such as Sudan and Egypt. His connections to the shadowy world of Irish republican politics permeated his work. Aloysius was closest to James, who was instrumental in building up the Irish Republican Brotherhood in Britain, was active in the Land League, was elected Member of Parliament for Roscommon in 1880 and a key figure in securing Charles Stewart Parnell`s agreement for the New Departure. The most radical Irish artist of his era, O`Kelly was prolific and eclectic: Realist in Ireland, Naturalist in France and Orientalist in North Africa, forging all the time new connections between art and anti-colonial politics.O`Kelly was accepted by the École des Beaux-Arts in Paris in 1874, to the studio of Jean-Léon Gérôme (1824-1904), a not inconsequential achievement. He also studied with the portraitist, Joseph-Florentin-Léon Bonnat (1833-1922). He was one of the first Irish artists to go to Brittany, to Pont-Aven, and later Corncarneau. There he mixed with the American colony blending academic, realist and plein-air elements into an innovative mode of rural Naturalism. From France, O`Kelly returned to Ireland in the early 1880s, as `Special Artist` to The Illustrated London News, giving visual expression to the harsh realities of Irish rural life. Here the Freeman`s Journal declared him `the most important of modern artists`, and of `exceptionally high rank` (2 June 1888). His Mass in a Connemara Cabin (National Gallery of Ireland, 1883) had the distinction of being the first painting of an Irish subject ever exhibited in the Paris Salon. In North Africa, O`Kelly painted many typical scenes, but tended to avoid the emblems of Orientalism, scenes of extremism and characterisations of incompetence that might justify colonial domination. His North African and Middle Eastern paintings reveal a predominantly ethnographic interest. His adoption of the name Oakley in Cairo also points to political activism, leading to a dangerous adventure in which he and his brother, James, followed their friend, Edmond O`Donovan, the Fenian and internationally renowned journalist, to Sudan in 1883/4, where they allied themselves with the forces of the Mahdi. As well as being a work of artistic merit, the watercolour, Edmond O`Donovan as an Orientalist (lot 49), is thus an important political painting.O`Kelly maintained family contacts in England where he painted English Peasant Chopping Swedes (opposite, lot 45) c.1887/8. In 1895, he left for the US from but returned regularly to France for the summers. Here he painted the Brittany paintings presented in this sale (see lots: 46,47, 51 & 52) in the early years of the twentieth century. And in 1897, he came back to Ireland in an (unsuccessful) attempt to offer himself as a candidate for election as MP for South Roscommon. In New York he executed a number of portraits of prominent Irish-American politicians, painted views of the city, as well as traveling around the art colonies of America, resulting in many landscape studies of Maine. He returned to Ireland again in 1926, aged seventy-three, still pressing his case for the establishment of a national school of painting. There followed a final sojourn in Brittany, before he returned to America where he died in 1936. Professor Emeritus Niamh O`SullivanFebruary 2013Aloysius O`Kelly exhibited at the Royal Academy, Royal Society of British Artists, Royal Institute of Painters in Watercolours and Institute of Painters in Oil Colours, London; Walker Gallery Liverpool; Manchester City Art Gallery; Royal Hibernian Academy, Dublin; National Academy of Design, Water Color Club (as a member), American Watercolor Society, and Society of American Artists, New York; Art Institute Chicago; Corcoran Gallery, Washington; Boston Art Club; and at the Paris Salon.
Aloysius C. O’Kelly (1853-1936)FISHING BOATS AT CONCARNEAU, FRANCEoil on boardsigned lower rightLandscaPortraite9 by 12in., 22.5 by 30cm.The Collection of Mervyn & Pat SolomonAloysius O`Kelly (1853-1936) was born in Dublin as Aloysius Kelly, and immigrated to London in 1861, where he adopted the prefix O`. O`Kelly belonged to a Fenian family. His older brothers, James, Charles and Stephen, were all Fenians, and sculptors (trained by their uncle, John Lawlor, the well-known Irish sculptor in London). O`Kelly lived a life of art and sedition, operating as a painter and activist in Ireland, Britain, France and the United States, as well as in outposts of the empire, such as Sudan and Egypt. His connections to the shadowy world of Irish republican politics permeated his work. Aloysius was closest to James, who was instrumental in building up the Irish Republican Brotherhood in Britain, was active in the Land League, was elected Member of Parliament for Roscommon in 1880 and a key figure in securing Charles Stewart Parnell`s agreement for the New Departure. The most radical Irish artist of his era, O`Kelly was prolific and eclectic: Realist in Ireland, Naturalist in France and Orientalist in North Africa, forging all the time new connections between art and anti-colonial politics.O`Kelly was accepted by the École des Beaux-Arts in Paris in 1874, to the studio of Jean-Léon Gérôme (1824-1904), a not inconsequential achievement. He also studied with the portraitist, Joseph-Florentin-Léon Bonnat (1833-1922). He was one of the first Irish artists to go to Brittany, to Pont-Aven, and later Corncarneau. There he mixed with the American colony blending academic, realist and plein-air elements into an innovative mode of rural Naturalism. From France, O`Kelly returned to Ireland in the early 1880s, as `Special Artist` to The Illustrated London News, giving visual expression to the harsh realities of Irish rural life. Here the Freeman`s Journal declared him `the most important of modern artists`, and of `exceptionally high rank` (2 June 1888). His Mass in a Connemara Cabin (National Gallery of Ireland, 1883) had the distinction of being the first painting of an Irish subject ever exhibited in the Paris Salon. In North Africa, O`Kelly painted many typical scenes, but tended to avoid the emblems of Orientalism, scenes of extremism and characterisations of incompetence that might justify colonial domination. His North African and Middle Eastern paintings reveal a predominantly ethnographic interest. His adoption of the name Oakley in Cairo also points to political activism, leading to a dangerous adventure in which he and his brother, James, followed their friend, Edmond O`Donovan, the Fenian and internationally renowned journalist, to Sudan in 1883/4, where they allied themselves with the forces of the Mahdi. As well as being a work of artistic merit, the watercolour, Edmond O`Donovan as an Orientalist (lot 49), is thus an important political painting.O`Kelly maintained family contacts in England where he painted English Peasant Chopping Swedes (opposite, lot 45) c.1887/8. In 1895, he left for the US from but returned regularly to France for the summers. Here he painted the Brittany paintings presented in this sale (see lots: 46,47, 51 & 52) in the early years of the twentieth century. And in 1897, he came back to Ireland in an (unsuccessful) attempt to offer himself as a candidate for election as MP for South Roscommon. In New York he executed a number of portraits of prominent Irish-American politicians, painted views of the city, as well as traveling around the art colonies of America, resulting in many landscape studies of Maine. He returned to Ireland again in 1926, aged seventy-three, still pressing his case for the establishment of a national school of painting. There followed a final sojourn in Brittany, before he returned to America where he died in 1936. Professor Emeritus Niamh O`SullivanFebruary 2013Aloysius O`Kelly exhibited at the Royal Academy, Royal Society of British Artists, Royal Institute of Painters in Watercolours and Institute of Painters in Oil Colours, London; Walker Gallery Liverpool; Manchester City Art Gallery; Royal Hibernian Academy, Dublin; National Academy of Design, Water Color Club (as a member), American Watercolor Society, and Society of American Artists, New York; Art Institute Chicago; Corcoran Gallery, Washington; Boston Art Club; and at the Paris Salon.
Aloysius C. O’Kelly (1853-1936)TREESoil on boardsigned lower rightPortrait12.5 by 9in., 31.25 by 22.5cm.The Collection of Mervyn & Pat SolomonAloysius O`Kelly (1853-1936) was born in Dublin as Aloysius Kelly, and immigrated to London in 1861, where he adopted the prefix O`. O`Kelly belonged to a Fenian family. His older brothers, James, Charles and Stephen, were all Fenians, and sculptors (trained by their uncle, John Lawlor, the well-known Irish sculptor in London). O`Kelly lived a life of art and sedition, operating as a painter and activist in Ireland, Britain, France and the United States, as well as in outposts of the empire, such as Sudan and Egypt. His connections to the shadowy world of Irish republican politics permeated his work. Aloysius was closest to James, who was instrumental in building up the Irish Republican Brotherhood in Britain, was active in the Land League, was elected Member of Parliament for Roscommon in 1880 and a key figure in securing Charles Stewart Parnell`s agreement for the New Departure. The most radical Irish artist of his era, O`Kelly was prolific and eclectic: Realist in Ireland, Naturalist in France and Orientalist in North Africa, forging all the time new connections between art and anti-colonial politics.O`Kelly was accepted by the École des Beaux-Arts in Paris in 1874, to the studio of Jean-Léon Gérôme (1824-1904), a not inconsequential achievement. He also studied with the portraitist, Joseph-Florentin-Léon Bonnat (1833-1922). He was one of the first Irish artists to go to Brittany, to Pont-Aven, and later Corncarneau. There he mixed with the American colony blending academic, realist and plein-air elements into an innovative mode of rural Naturalism. From France, O`Kelly returned to Ireland in the early 1880s, as `Special Artist` to The Illustrated London News, giving visual expression to the harsh realities of Irish rural life. Here the Freeman`s Journal declared him `the most important of modern artists`, and of `exceptionally high rank` (2 June 1888). His Mass in a Connemara Cabin (National Gallery of Ireland, 1883) had the distinction of being the first painting of an Irish subject ever exhibited in the Paris Salon. In North Africa, O`Kelly painted many typical scenes, but tended to avoid the emblems of Orientalism, scenes of extremism and characterisations of incompetence that might justify colonial domination. His North African and Middle Eastern paintings reveal a predominantly ethnographic interest. His adoption of the name Oakley in Cairo also points to political activism, leading to a dangerous adventure in which he and his brother, James, followed their friend, Edmond O`Donovan, the Fenian and internationally renowned journalist, to Sudan in 1883/4, where they allied themselves with the forces of the Mahdi. As well as being a work of artistic merit, the watercolour, Edmond O`Donovan as an Orientalist (lot 49), is thus an important political painting.O`Kelly maintained family contacts in England where he painted English Peasant Chopping Swedes (opposite, lot 45) c.1887/8. In 1895, he left for the US from but returned regularly to France for the summers. Here he painted the Brittany paintings presented in this sale (see lots: 46,47, 51 & 52) in the early years of the twentieth century. And in 1897, he came back to Ireland in an (unsuccessful) attempt to offer himself as a candidate for election as MP for South Roscommon. In New York he executed a number of portraits of prominent Irish-American politicians, painted views of the city, as well as traveling around the art colonies of America, resulting in many landscape studies of Maine. He returned to Ireland again in 1926, aged seventy-three, still pressing his case for the establishment of a national school of painting. There followed a final sojourn in Brittany, before he returned to America where he died in 1936. Professor Emeritus Niamh O`SullivanFebruary 2013Aloysius O`Kelly exhibited at the Royal Academy, Royal Society of British Artists, Royal Institute of Painters in Watercolours and Institute of Painters in Oil Colours, London; Walker Gallery Liverpool; Manchester City Art Gallery; Royal Hibernian Academy, Dublin; National Academy of Design, Water Color Club (as a member), American Watercolor Society, and Society of American Artists, New York; Art Institute Chicago; Corcoran Gallery, Washington; Boston Art Club; and at the Paris Salon.
Aloysius C. O’Kelly (1853-1936)EDMOND O`DONOVAN AS AN ORIENTAL, c.1883-84watercolour over pencil heightened with body colour on laid papersigned lower right; with Hugh Lane exhibition label on reversePortrait22.25 by 16in., 55.625 by 40cm.The Collection of Mervyn & Pat Solomon`Aloysius O`Kelly, Re-Orientations, Paintings, Politics and Popular Culture`, Hugh Lane Municipal Gallery of Modern Art, Dublin, 25 November 1999 to 30 January 2000O`Sullivan, Niamh, Aloysius O`Kelly, Re-Orientations, Paintings, Politics and Popular Culture, Hugh Lane Municipal Gallery of Modern Art, Dublin, 1999, p.72 -73 (full page illustration p.72)A graduate of Belvedere and later Trinity College, Edmond O`Donovan was sworn into the Fenians by O`Donovan Rossa. After a failed uprising in 1867 he fled to Paris. He joined the Foreign Legion at the outbreak of the Franco-Prussian in 1870. Wounded and taken prisoner, he was shipped back to Ireland in May 1871. When he was home in Ireland he spent his time trying to revitalise the Fenian movement while also reporting on the Balkan War for the Daily News. His time as a correspondent came to a tragic end when he disappeared in the Sudan during the Mahdi uprising in 1883.Aloysius O`Kelly (1853-1936) was born in Dublin as Aloysius Kelly, and immigrated to London in 1861, where he adopted the prefix O`. O`Kelly belonged to a Fenian family. His older brothers, James, Charles and Stephen, were all Fenians, and sculptors (trained by their uncle, John Lawlor, the well-known Irish sculptor in London). O`Kelly lived a life of art and sedition, operating as a painter and activist in Ireland, Britain, France and the United States, as well as in outposts of the empire, such as Sudan and Egypt. His connections to the shadowy world of Irish republican politics permeated his work. Aloysius was closest to James, who was instrumental in building up the Irish Republican Brotherhood in Britain, was active in the Land League, was elected Member of Parliament for Roscommon in 1880 and a key figure in securing Charles Stewart Parnell`s agreement for the New Departure. The most radical Irish artist of his era, O`Kelly was prolific and eclectic: Realist in Ireland, Naturalist in France and Orientalist in North Africa, forging all the time new connections between art and anti-colonial politics.O`Kelly was accepted by the École des Beaux-Arts in Paris in 1874, to the studio of Jean-Léon Gérôme (1824-1904), a not inconsequential achievement. He also studied with the portraitist, Joseph-Florentin-Léon Bonnat (1833-1922). He was one of the first Irish artists to go to Brittany, to Pont-Aven, and later Corncarneau. There he mixed with the American colony blending academic, realist and plein-air elements into an innovative mode of rural Naturalism. From France, O`Kelly returned to Ireland in the early 1880s, as `Special Artist` to The Illustrated London News, giving visual expression to the harsh realities of Irish rural life. Here the Freeman`s Journal declared him `the most important of modern artists`, and of `exceptionally high rank` (2 June 1888). His Mass in a Connemara Cabin (National Gallery of Ireland, 1883) had the distinction of being the first painting of an Irish subject ever exhibited in the Paris Salon. In North Africa, O`Kelly painted many typical scenes, but tended to avoid the emblems of Orientalism, scenes of extremism and characterisations of incompetence that might justify colonial domination. His North African and Middle Eastern paintings reveal a predominantly ethnographic interest. His adoption of the name Oakley in Cairo also points to political activism, leading to a dangerous adventure in which he and his brother, James, followed their friend, Edmond O`Donovan, the Fenian and internationally renowned journalist, to Sudan in 1883/4, where they allied themselves with the forces of the Mahdi. As well as being a work of artistic merit, the watercolour, Edmond O`Donovan as an Orientalist (lot 49), is thus an important political painting.O`Kelly maintained family contacts in England where he painted English Peasant Chopping Swedes (opposite, lot 45) c.1887/8. In 1895, he left for the US from but returned regularly to France for the summers. Here he painted the Brittany paintings presented in this sale (see lots: 46,47, 51 & 52) in the early years of the twentieth century. And in 1897, he came back to Ireland in an (unsuccessful) attempt to offer himself as a candidate for election as MP for South Roscommon. In New York he executed a number of portraits of prominent Irish-American politicians, painted views of the city, as well as traveling around the art colonies of America, resulting in many landscape studies of Maine. He returned to Ireland again in 1926, aged seventy-three, still pressing his case for the establishment of a national school of painting. There followed a final sojourn in Brittany, before he returned to America where he died in 1936. Professor Emeritus Niamh O`SullivanFebruary 2013Aloysius O`Kelly exhibited at the Royal Academy, Royal Society of British Artists, Royal Institute of Painters in Watercolours and Institute of Painters in Oil Colours, London; Walker Gallery Liverpool; Manchester City Art Gallery; Royal Hibernian Academy, Dublin; National Academy of Design, Water Color Club (as a member), American Watercolor Society, and Society of American Artists, New York; Art Institute Chicago; Corcoran Gallery, Washington; Boston Art Club; and at the Paris Salon.
Aloysius C. O’Kelly (1853-1936)RIVER AND TREESoil on boardsigned lower rightLandscaPortraite10 by 13in., 25 by 32.5cm.The Collection of Mervyn & Pat SolomonAloysius O`Kelly (1853-1936) was born in Dublin as Aloysius Kelly, and immigrated to London in 1861, where he adopted the prefix O`. O`Kelly belonged to a Fenian family. His older brothers, James, Charles and Stephen, were all Fenians, and sculptors (trained by their uncle, John Lawlor, the well-known Irish sculptor in London). O`Kelly lived a life of art and sedition, operating as a painter and activist in Ireland, Britain, France and the United States, as well as in outposts of the empire, such as Sudan and Egypt. His connections to the shadowy world of Irish republican politics permeated his work. Aloysius was closest to James, who was instrumental in building up the Irish Republican Brotherhood in Britain, was active in the Land League, was elected Member of Parliament for Roscommon in 1880 and a key figure in securing Charles Stewart Parnell`s agreement for the New Departure. The most radical Irish artist of his era, O`Kelly was prolific and eclectic: Realist in Ireland, Naturalist in France and Orientalist in North Africa, forging all the time new connections between art and anti-colonial politics.O`Kelly was accepted by the École des Beaux-Arts in Paris in 1874, to the studio of Jean-Léon Gérôme (1824-1904), a not inconsequential achievement. He also studied with the portraitist, Joseph-Florentin-Léon Bonnat (1833-1922). He was one of the first Irish artists to go to Brittany, to Pont-Aven, and later Corncarneau. There he mixed with the American colony blending academic, realist and plein-air elements into an innovative mode of rural Naturalism. From France, O`Kelly returned to Ireland in the early 1880s, as `Special Artist` to The Illustrated London News, giving visual expression to the harsh realities of Irish rural life. Here the Freeman`s Journal declared him `the most important of modern artists`, and of `exceptionally high rank` (2 June 1888). His Mass in a Connemara Cabin (National Gallery of Ireland, 1883) had the distinction of being the first painting of an Irish subject ever exhibited in the Paris Salon. In North Africa, O`Kelly painted many typical scenes, but tended to avoid the emblems of Orientalism, scenes of extremism and characterisations of incompetence that might justify colonial domination. His North African and Middle Eastern paintings reveal a predominantly ethnographic interest. His adoption of the name Oakley in Cairo also points to political activism, leading to a dangerous adventure in which he and his brother, James, followed their friend, Edmond O`Donovan, the Fenian and internationally renowned journalist, to Sudan in 1883/4, where they allied themselves with the forces of the Mahdi. As well as being a work of artistic merit, the watercolour, Edmond O`Donovan as an Orientalist (lot 49), is thus an important political painting.O`Kelly maintained family contacts in England where he painted English Peasant Chopping Swedes (opposite, lot 45) c.1887/8. In 1895, he left for the US from but returned regularly to France for the summers. Here he painted the Brittany paintings presented in this sale (see lots: 46,47, 51 & 52) in the early years of the twentieth century. And in 1897, he came back to Ireland in an (unsuccessful) attempt to offer himself as a candidate for election as MP for South Roscommon. In New York he executed a number of portraits of prominent Irish-American politicians, painted views of the city, as well as traveling around the art colonies of America, resulting in many landscape studies of Maine. He returned to Ireland again in 1926, aged seventy-three, still pressing his case for the establishment of a national school of painting. There followed a final sojourn in Brittany, before he returned to America where he died in 1936. Professor Emeritus Niamh O`SullivanFebruary 2013Aloysius O`Kelly exhibited at the Royal Academy, Royal Society of British Artists, Royal Institute of Painters in Watercolours and Institute of Painters in Oil Colours, London; Walker Gallery Liverpool; Manchester City Art Gallery; Royal Hibernian Academy, Dublin; National Academy of Design, Water Color Club (as a member), American Watercolor Society, and Society of American Artists, New York; Art Institute Chicago; Corcoran Gallery, Washington; Boston Art Club; and at the Paris Salon.
Aloysius C. O’Kelly (1853-1936)YACHTS AT SUNSET, FRANCEoil on boardsigned lower rightLandscaPortraite4.5 by 5.75in., 11.25 by 14.375cm.The Collection of Mervyn & Pat SolomonAloysius O`Kelly (1853-1936) was born in Dublin as Aloysius Kelly, and immigrated to London in 1861, where he adopted the prefix O`. O`Kelly belonged to a Fenian family. His older brothers, James, Charles and Stephen, were all Fenians, and sculptors (trained by their uncle, John Lawlor, the well-known Irish sculptor in London). O`Kelly lived a life of art and sedition, operating as a painter and activist in Ireland, Britain, France and the United States, as well as in outposts of the empire, such as Sudan and Egypt. His connections to the shadowy world of Irish republican politics permeated his work. Aloysius was closest to James, who was instrumental in building up the Irish Republican Brotherhood in Britain, was active in the Land League, was elected Member of Parliament for Roscommon in 1880 and a key figure in securing Charles Stewart Parnell`s agreement for the New Departure. The most radical Irish artist of his era, O`Kelly was prolific and eclectic: Realist in Ireland, Naturalist in France and Orientalist in North Africa, forging all the time new connections between art and anti-colonial politics.O`Kelly was accepted by the École des Beaux-Arts in Paris in 1874, to the studio of Jean-Léon Gérôme (1824-1904), a not inconsequential achievement. He also studied with the portraitist, Joseph-Florentin-Léon Bonnat (1833-1922). He was one of the first Irish artists to go to Brittany, to Pont-Aven, and later Corncarneau. There he mixed with the American colony blending academic, realist and plein-air elements into an innovative mode of rural Naturalism. From France, O`Kelly returned to Ireland in the early 1880s, as `Special Artist` to The Illustrated London News, giving visual expression to the harsh realities of Irish rural life. Here the Freeman`s Journal declared him `the most important of modern artists`, and of `exceptionally high rank` (2 June 1888). His Mass in a Connemara Cabin (National Gallery of Ireland, 1883) had the distinction of being the first painting of an Irish subject ever exhibited in the Paris Salon. In North Africa, O`Kelly painted many typical scenes, but tended to avoid the emblems of Orientalism, scenes of extremism and characterisations of incompetence that might justify colonial domination. His North African and Middle Eastern paintings reveal a predominantly ethnographic interest. His adoption of the name Oakley in Cairo also points to political activism, leading to a dangerous adventure in which he and his brother, James, followed their friend, Edmond O`Donovan, the Fenian and internationally renowned journalist, to Sudan in 1883/4, where they allied themselves with the forces of the Mahdi. As well as being a work of artistic merit, the watercolour, Edmond O`Donovan as an Orientalist (lot 49), is thus an important political painting.O`Kelly maintained family contacts in England where he painted English Peasant Chopping Swedes (opposite, lot 45) c.1887/8. In 1895, he left for the US from but returned regularly to France for the summers. Here he painted the Brittany paintings presented in this sale (see lots: 46,47, 51 & 52) in the early years of the twentieth century. And in 1897, he came back to Ireland in an (unsuccessful) attempt to offer himself as a candidate for election as MP for South Roscommon. In New York he executed a number of portraits of prominent Irish-American politicians, painted views of the city, as well as traveling around the art colonies of America, resulting in many landscape studies of Maine. He returned to Ireland again in 1926, aged seventy-three, still pressing his case for the establishment of a national school of painting. There followed a final sojourn in Brittany, before he returned to America where he died in 1936. Professor Emeritus Niamh O`SullivanFebruary 2013Aloysius O`Kelly exhibited at the Royal Academy, Royal Society of British Artists, Royal Institute of Painters in Watercolours and Institute of Painters in Oil Colours, London; Walker Gallery Liverpool; Manchester City Art Gallery; Royal Hibernian Academy, Dublin; National Academy of Design, Water Color Club (as a member), American Watercolor Society, and Society of American Artists, New York; Art Institute Chicago; Corcoran Gallery, Washington; Boston Art Club; and at the Paris Salon.
William John Leech RHA ROI (1881-1968)THE LAKE, REGENT`S PARK, LONDONoil on canvassigned lower left; with inscribed Dawson Gallery label on reverseLandscaPortraite20 by 24in., 50 by 60cm.Purchased by the present owner`s mother from Leo Smith, Dawson Gallery, Dublin;Thence by descentDenson, Alan, W. J. Leech RHA (1881-1968) Vol. 2 His Life Work, A Catalogue (Part I), Kendal, 1969, catalogue no. 48 (Sketch for The Lake, Regent`s Park, London)Leo Smith... the man to whom Mr. Leech bequeathed the majority of his pictures in the confident and well-founded belief the Mr Smith would ensure their wise distribution and preservation for prosperity. " p.114 (Denson)Leo Smith met the artist first in 1944 and he became his advocate and sole agent, showing his work from this period and hosting solo exhibitions in 1945, 1947and 1951. After 1916 Leech settled first in London and later the south of England. Royal Academy records his address in 1934 as 4 Steele`s Studios, Haverstock Hill, London, NW3 and it is from this address that the present work was executed. The subject of Regent`s Park is recorded variously by Leech biographers and other examples include, In Regent`s Park in 1960 by Thomas Haverty Trust to the Hugh Lane Gallery, Dublin. York Bridge, Regent`s Park, London and The Bridge, Regent`s Park, London shown with the RHA, 1935, no. 4 [£5-0-0]. The park, a short walk from his studio, was a place of solace for Leech. There he could retreat from the rapidly changing capital. The light palette and buttery impasto recalls the foreground of the artist`s masterpiece Convent Garden, Brittany (NGI, Dublin) but instead of breaking the dizzying trance of brushstrokes with a figure or lake boat, here the artist submerges the viewer into a thick web of colour and paint to be consumed by the power of this urban sanctuary. The impression left by Paris and later Brittany can still be felt in this English subject. The handling of the paint, treatment of light - the reflections on the water - and the sense of a fleeting moment passing are all captured here in this en plein air oil. Leech would later escape the urban jungle entirely to a cottage in West Clandon, near Guildford, Surrey with second wife May Bottrell circa 1940. The present work has been in the same family since it was wisely purchased from their family friend, Leo Smith, Director of the Dawson Gallery, after the artist`s death."
Rudolph Ihlee (1883-1968)BRIDGE, ALGIERS, 1926oil on canvassigned and dated lower left; numbered 2604 on reverse; with James Bourlet & Sons [Nassau St., Dublin] also on reverseLandscaPortraite24.5 by 29.25in., 61.25 by 73.125cm.A gift from the artist to the present owner`s family, Co. Wexford c. late 1930s;Thence by descent to the present ownerA graduate of the Slade School of Fine Art, London born Rudolph Ihlee formed part of an innovative group of artists in the first decade of the 1900s which included Augustus John, William Crampton Gore, Stanley Spence, Henry Tonks, John Currie and William Orpen. Ihlee left Slade School in 1910 and exhibited with the New English Art Club that year, becoming a member nine years later. He showed at the Royal Scottish Academy and with the Royal Society of British Artists two years later. Two solo exhibitions at the Carfax Gallery followed in 1914. After the First World War Ihlee painted in Brittany and later settled in the medieval artists` hub, Collioure, on the French border with Spain. In the 1920s he painted in Spain and in North Africa. The present works record his time in Algiers. Ihlee later returned to England settling in Peterborough. In 1926 he had a solo show at Chenil Galleries, Chelsea (a gallery established by Orpen`s brother in-law). Rudolph Ihlee died in 1968 and ten years later a retrospective exhibition of his work was hosted by the Graves Art Gallery and the Belgrave Gallery, London. His work can be found in the Victoria & Albert Museum, Manchester City Art Gallery, the British Government Art Collection among others. The Kernoff-esque treatment of the composition and flattened space of these north African scenes recall the Irishman`s take on Dublin, while the depiction of light echoes the obsessions of Lavery during his time in this exotic part of the world. The present works have been in a single private collection in Wexford, where Rudolph Ihlee stayed for a period during the late 1930s. His time in Ireland does not appear to be recorded but for the interesting provenance provided here.
Rudolph Ihlee (1883-1968)WORKERS, ALGIERS, 1924oil on canvassigned and dated lower left; numbered [2408] on reverseLandscaPortraite24.5 by 29.25in., 61.25 by 73.125cm.A gift from the artist to the present owner`s family, Co. Wexford c. late 1930s;Thence by descent to the present ownerA graduate of the Slade School of Fine Art, London born Rudolph Ihlee formed part of an innovative group of artists in the first decade of the 1900s which included Augustus John, William Crampton Gore, Stanley Spence, Henry Tonks, John Currie and William Orpen. Ihlee left Slade School in 1910 and exhibited with the New English Art Club that year, becoming a member nine years later. He showed at the Royal Scottish Academy and with the Royal Society of British Artists two years later. Two solo exhibitions at the Carfax Gallery followed in 1914. After the First World War Ihlee painted in Brittany and later settled in the medieval artists` hub, Collioure, on the French border with Spain. In the 1920s he painted in Spain and in North Africa. The present works record his time in Algiers. Ihlee later returned to England settling in Peterborough. In 1926 he had a solo show at Chenil Galleries, Chelsea (a gallery established by Orpen`s brother in-law). Rudolph Ihlee died in 1968 and ten years later a retrospective exhibition of his work was hosted by the Graves Art Gallery and the Belgrave Gallery, London. His work can be found in the Victoria & Albert Museum, Manchester City Art Gallery, the British Government Art Collection among others. The Kernoff-esque treatment of the composition and flattened space of these north African scenes recall the Irishman`s take on Dublin, while the depiction of light echoes the obsessions of Lavery during his time in this exotic part of the world. The present works have been in a single private collection in Wexford, where Rudolph Ihlee stayed for a period during the late 1930s. His time in Ireland does not appear to be recorded but for the interesting provenance provided here.
Jack Butler Yeats RHA (1871-1957)COMPLETE COLLECTION OF 84 BROADSIDES [1908-1915]hand-coloured; (from a limited edition of 300)Portrait11 by 7.5in., 27.5 by 18.75cm.A Broadside was published in a folio format, on special paper made at the Saggart Mills in Dublin, with typeface selected by the artist`s sister Lily and printed on an Albion hand press built in 1853. A Broadside was published in an edition of 300 copies. An annual subscription cost 12 shillings. Jack illustrated the complete first series (84 issues) totalling 252 drawings and had exclusive editorial control for the first series with W.B. assuming the role for the subsequent second and third. The present example is a highly desirable, complete compilation in superb condition, housed within two original blue linen portfolios each with Yeats` hand-coloured labels of a pirate playing a mandolin.
Sir John Lavery RA RSA RHA (1856-1941)PORTRAIT OF A LADY [THOUGHT TO BE MARGRIT HÖLLRIGL]oil on boardsigned lower right; with stamp of Reeves & Son`s London on reverse; also indistinctly inscribed V. Hollrigel?" in pencil on reverse (1)"Portrait14 by 9.75in., 35 by 24.375cm.Before embarking on a large canvas, John Lavery would often plan his composition on a standard 14 by 10 inch canvas board of the type manufactured by Reeves and Sons or Winsor and Newton. These travelled with him as part of his painting kit and often, when used for portraits, they were inscribed, dedicated and presented to a sitter at the conclusion of sittings. (2) In many cases the informality and experimental nature of these `souvenirs` adds to their charm. Lavery would respond to the flash of personality or, as in the present instance, the visual drama of a striking coat, dress or hat. He was, as he told a reporter in 1912, an admirer of modern dress design. It contained `many attractive features from an artist`s point of view and … [presented] opportunities for artistic treatment that have been equaled by few periods of fashion`. The comparisons he was asked to make were with Titian, Velázquez, Van Dyck and Gainsborough. (3) The present work, which first appeared in Germany, may represent one of Lavery`s Berlin subjects. Around 1900 the artist was working for extended winter periods in the German capital, having secured introductions from August Neven du Mont, a wealthy expatriate painter who lived close to him in Cromwell Road, London (3). He was, as he later remarked, `anglicizing the German Frau … a popular accomplishment to possess`, and one that was only arrested by the Boer War and the emerging conflict between German and British Imperial ambitions in Africa (4). Nevertheless such was the volume of work produced during these sojourns that the painter was able to stage three exhibitions at Schulte`s Gallery, Berlin, in 1899, 1902 and 1904. Many of the paintings shown in these exhibitions have disappeared. One notable survivor is however, La Dame aux Perles, (See fig 1., La Dame aux Perles, Collection of the Hugh Lane Gallery, Dublin) a picture which, despite its French title, represents a Hungarian salon hostess, Margrit Höllrigl (later Gräfin/Countess Margit Bubna-Litic).Although she came from a lowly background in Budapest, Höllrigl presented herself to Berlin society at the turn of the twentieth century as an Austrian Baroness (5). Studies for her portrait have not survived, although given the relative prestige of the subject, and the picture`s subsequent importance in the Lavery oeuvre, it seems inconceivable that no sketches of Höllrigl were made (6). It is just possible that the present `souvenir`, along with one other, now known Lady in a Green Coat (Private Collection), fill this gap in our knowledge - although this remains to be proven.Prof Kenneth McConkeyFebruary 2013Footnotes:1. Various readings of this inscription are possible. It appears not to be in the artist`s hand.2. Although clearly autograph, the present picture is not inscribed with a dedication, and it seems unlikely that it comes as part of a commission. We cannot however be certain that the practice of dedicating sketches was adopted when the painter was working in Germany. 3. Anon, `Artists` Opinions on Ladies` Dress`, The Strand Magazine, August 1912, p. 188. 4. August Neven du Mont , the Anglophile painter, was the son of a newspaper proprietor who married into the von Guilleaume dynasty of Cologne industrialists - who in turn provided Lavery with a number of commissions during his German seasons. 5. Kenneth McConkey, John Lavery, A Painter and his World, 2010, (Atelier Books), pp. 74-6. 6. Margrit Höllrigl first moved to Vienna in the 1890s where she appears to have worked initially as an actress. Adding the aristocratic `von` to her name, and trading on her looks and magnetic personality, she moved to Berlin where she secured the patronage of Adolph Friedrich, Grand Duke of Mecklenburg and other wealthy aristocratic male admirers, living in style up to the Great War on the proceeds of blackmail. During the twenties she moved to America, where all records of her disappear. I am grateful to Andreas Frost for this information. 7. Walter Shaw Sparrow, John Lavery and his Work, n.d., [1912], p. 134; McConkey 2010, pp. 174-6.
Arthur David McCormick RBA RI ROI (1860-1943)THE PIRATE`S TRIBUNE, 1900oil on canvassigned and dated lower right; with the artist`s address [St. John`s Wood] inscribed on stretcher on reverseLandscaPortraite18 by 24in., 45 by 60cm.Christie`s, London, 23 January 2003, lot 226;Private collection;with The Frederick Gallery, Dublin, April 2004;Private collection`Spring Exhibition of Irish Art`, The Frederick Gallery, Dublin, 3-23 April 2004, catalogue no. 3 (illustrated)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 [as per the reverse of the present work]; 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.
Sean Scully (b.1945)COLOURED WALL, 2003 and SEAN SCULLY (BOOK) by David Carrierlithograph; (no. 126 from a limited edition of 150); limited edition book; (no. 126 of 150)lithograph, signed, titled, dated and numbered in the lower margin; book, numbered on presentation slipcase, upperPortrait11.75 by 9.5in., 29.375 by 23.75cm.Lithograph printed in colours on Zerkal Copperplate deluxe paper and printed at Atelier 28, their stamp verso. Accompanying first special edition hardback book by David Carrier, Thames and Hudson, London 2004. Contained in original red slipcase, titled and numbered on upper. Excellent example. (2 items total)
Nicholas Verrall RBA ROI (b.1945)LES VOLETS BLEUSoil on canvassigned lower left; with Catto Gallery label on reverseLandscaPortraite17 by 20in., 42.5 by 50cm.Catto Gallery, London;Private collectionNicholas Verrall studied Fine Art and Printing at the Northampton School of Art in England. After graduating in 1965 Verrall worked in picture conservation and restoration until 1970 when he decided to concentrate solely on his own work. Shortly after this decision, Verrall held his first solo show at the Upper Grosvenor Gallery in 1971. Since the late 1970s, his work has been regularly exhibited at both the Royal Academy and the Royal Society of British Artists.In 2008 Verrall co-authored a practical guide to oil painting with art journalist Robin Capon entitled Colour and Light in Oils.
Frederick William Booty (1840-1924): 'Robin Hoods Bay' & 'The Lfeboat attending the Wreck of the Ketch Eva (20th Sept. 1903)', pair watercolours the latter signed and dated 1903, 18cm x 13cm (2) The new Lifeboat 'Mary Ann Lockwood' was launched in her first successful mission to save lives when she landed the three Lowestoft crew and their dog
A 19th CENTURY MAHOGANY FRAMED FOUR-FOLD SCREEN, with foliate upholstered panels, bearing plaque of "R. Strahan & Co., 24 Henry Street, Dublin". 198cm high, each fold 61cm wide Robert Strahan & Co was founded in 1776. First operating from 10-11 Chancery Lane, by 1815 it was so successful that two new workshops opened at 24-25 Henry Street and 5 Leinster Street in 1845. They displayed their work at Dublin's Great Industrial Exhibition of 1853. In 1870 the firm moved to Abbey Street and continued to trade under the family name up until 1969. Patronised by the Office of Public Works, the firm were commissioned to design and manufacture high quality but often unadorned furniture. Strahan designed furniture for some of the great Irish country houses such as Doneraile Court, Co. Cork and Lisnavagh, Co. Carlow.
AN IMPORTANT COLLECTION OF CHINESE PHOTOGRAPH ALBUMS COMPILED BY A MEMBER OF THE SHANGHAI MUNICIPAL POLICE (1905-1930) containing approximately 600 private and known images of Chinese landmarks and daily life. Amongst the collection are photographs of the Yuan Ming Gardens, Shanghai Streets,Municipal courts and punishments. Many images identified with manuscript captions, observing and documenting various practices and local customs as seen through the eyes of a Western settler. See flickr for further images www.flickr.com/adams1887 One album with inscribed title page " Here and there through China - some snapshots which were taken on house boat trips by Messers Jake and Faylo, both officers of the SMP while on house boats in the company of myself. 1st Ship 1-7-08 2nd Ship 1-9-09 3rd Ship 1-6-10 3 albums with images varying in size and medium, together with a quantity of additional photographic postcards of similar interest. *The Shanghai Municipal Police was founded in 1854 and was tasked with the duty of safe-guarding the International Settlement at Shanghai until 1943. The Shanghai Settlement was one of the five treaty ports which were established under the terms of the Treaty of Nanking in 1842 and was of predominantly British make up. The force which originally consisted of a small number of British nationals taken from the Hong Kong police unit would eventually tally almost 5,000 members. Many of the personnel had been recruited from Britain, Ireland and Commonwealth countries through the British delegates of the Municipal Council. In addition to the maintenance of general law and order within its boundaries, the marked function of the Municipal Police was to provide security and stability in the region, thus encouraging and protecting Western trade interests in a somewhat fragile environment. Whilst the S.M. Police was charged with controlling day to day regional law enforcement, they would also be the first line of defence against the Chinese Nationalist movements. Continuous opposition and resentment from the Chinese people had been very strong. An increased sense of patriotism had been developing and events such as the Taiping rebellion against the (western influenced) Manchu rule and the Boxer rebellion opposing the European powers would only enhance further hatred against colonial communities. Successive revolutions in 1913 and 1927 along with a more Nationalist government challenged the control of the Shanghai International community leading to increased attacks and instability at the settlement. Violent clashes between police and criminals were frequent. This rise in crime prompted a development of riot control measures, leading to the advancement of the renowned William Ewart Fairbairn publication "Shanghai Municipal Police Self-Defence Manual". Members of the Police unit were required to master 8-10 core techniques in a close combat situation and this improvised martial art proved to be a lasting legacy of the SMP. The Japanese invasion and occupation of China in August 1937 led to an increasing demographic of Japanese nationals in the region; and by 1941 a full Japanese takeover of Shanghai's International Settlement resulted in the disbandment of the SMP. British and Commonwealth officers of the Shanghai Municipal Police would hold their position until the disbandment and eventual integration with the National police force in 1943.
THE PIMLICO CUP, AN AMERICAN SILVER TWIN HANDLED CUP, Baltimore early 20th century, mark of Schofield Co., stamped "STERLING 925/1000 FINE", the textured split, twin handles applied to a lobed body, with gadrooned rim above continuous bands depicting horse racing scenes, the lobed lower section with intertwined scrolling foliage, enclosing cartouches later engraved "Two-Year-Olds One Mile And A Sixteenth Won by Jewels Reward, Owner Maine Chance Farm" to one side and "Maryland Jockey Club, Pimlico, Pimlico Futurity $50,000 Added Saturday, November 23-1957", held aloft by a tapered support with four horse heads in high relief, on a square base on four scroll feet (circa 52ozs). 25cm high, 27cm wide over handles Provenance: Elizabeth Arden. Awarded to the horse "Jewel Reward" ridden by Bill Shoemaker, trained by Ivan H. Parker of Maine Chance Farm Stud owned by Elizabeth Arden in 1957 at the then Pimlico Futurity, now called Laurel Futurity, which is an annual American thoroughbred horse race held in Laurel Park Racecourse in Laurel, Maryland, USA. Elizabeth Arden's horse racing career was financially fuelled by her thriving cosmetic career. Elizabeth Arden, christened Florence Nightingale Graham (1884-1966) was the hugely successful entrepreneurial Canadian businesswoman who built the US cosmetic empire "Elizabeth Arden Inc.". She was one of the "wealthiest women in the world" at the peak of her interesting career in cosmetics and fashion. Arden dropped out of nursing school in Toronto and joined her elder brother in New York working as a book-keeper in a Pharmaceutical Company where she spent hours in the lab, equipping herself with the necessary skills to further her knowledge in skincare. She also travelled to Paris and absorbed more skills and style, whilst on the Continent. She opened her first salon in New York's Fifth Avenue in 1910 with her trademark red door. Arden broke all the rules, as a woman, and she made it fashionable for ladies to wear make-up. She furthered the scientific formulae and also the 'concept', and managed to create and sell the "total look" and thereafter revolutionised the industry. Having made her fortune Arden diverged into the bloodstock racing world in the mid 1930's under the nom de course "Mr. Nightingale" until she adopted the name Maine Chance Farm from her health spa in Mount Vernon, Maine. Maine Chance Farm became a major player in the racing world in the 1940's and 50's and was the top money-winning stable in the US in 1945. A tragic fire at a racetrack in Chicago destroyed twenty-two horses from Maine Chance Farm in 1946. In 1956 Arden acquired the 722 acre northern portion of Coldstream Stud following the death of owner E. Dale Schaffer. After Arden's death the farm became part of the College of Agriculture at the University of Kentucky.
Farthings (2) 1739 the first with the olive branch pointing to the base of the first N in BRITANNIA Peck 869 VG, the second with the olive branch pointing between the A and N of BRITANNIA and with the date appearing 1` 739 (similar to the Cooke Collection coin no.386) VG or slightly better, Rare
Farthings (6) 1690 Tin edge with no detail so exact attribution not possible, date clear in exergue Poor has been in the ground, Farthing 1699 Silver Proof No Stop after date Peck 682 About Fine holed and plugged, 1694 No stop after Maria unbarred first A in Britannia Peck 618 GF/NVF with porous fields, Extremely rare. We note a similar example in Fine condition sold for £100 Hammer price in Auction A120 March 2008, Farthing 1866 Wide 66 Freeman 514 dies 3+B UNC with traces of lustre and a striking flaw in the reverse field, 1863 Freeman 509 dies 3+B (2) Near VF and Near Fine
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