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Lot 282
A World War II D.F.C, D.F.M group of six medals awarded to Squadron leader R H Hardy royal air Force, comprising D.F.C (1945), D.F.M GVI (580825 F/Sgt R H Hardy R.A.F.) 1939-1945 Star, Air crew Europe Star with France and Germany clasp, defence and War Medals, all mounted to bar with caterpillar badge, and badges and with log books from 1939 and copy photographs Sgt Hardy was a pre-war R A F regular who started his navigator training in March 1939. He qualified and was posted to 115 Squadron at Marham, operating Wellington Bombers in August 1939. He flew his first war raid on 8th September 1939 with a sweep over the Danish coast. His first log has been lost, as the first entry is for April 2nd 1940 and is signed as certified correct `hours carried forward - ops (12)` his previous ops are recorded in the back of his log book and the entry for 24th December 1939 states `Sweep - Danish Coast - Aircraft hit - baled out`, thus earning election to the famous caterpillar club and the award of a gold caterpillar with ruby eyes. In 1940 he flew many ops over the North Sea, France and Germany, and the entry for May 15th states `Gelsenkirchen - baled out` following a raid pm the Ruhr. He completed his first tour of 32 ops at Marham on 27th July 1940, and after a period of instructing he was posted to 15 Squadron at Wyton operating Stirling Bombers. His first op was on 3rd November 1941 to Boulogne followed by raids over Heavily defended targets in Germany, including Mannheim, Dusseldorf, Kiel, Rostock Cologne (1000 raid), Essen (1000 raid), Emden Bremen, Hamburg and Duisburg and France. On 18th December 1941 Brest when he was awarded the D.F.M. The London Gazette recommendation states `This NCO has done 38 operational sorties since joining this squadron for his second tour of operations in September 1941, on the 18th December 1941 he was observer in the leading aircraft of the third section of Stirlings detailed for a daylight attack on the battle cruisers at Brest. Although delayed at the rendezvous some 200 miles from the objective he succeeded in bringing his aircraft over the target at the pre-arranged time. During the run up his aircraft was subjected to intense heavy fly and fighter interference, but he guided the aircraft and aimed the bombs with such precision that a direct hit was obtained on both the battle cruisers. Nearing the end of his tour in September 1942 he volunteered for pathfinder duties, joining 7 squadron. He completed his tour in October 1942 with a total of 65 ops. In early 1943 he was selected for pilot training and posted to Canada. When he returned to the UK he converted to mosquitos and joined 608 Squadron flying his first op as pilot on the 25th September 1944 to Mannheim. He completed 12 ops before being posted to 635 Squadron now flying Lancasters in the pathfinder role. He completed 7 ops during March 1945 with the last on 24th making a grand total of 84 ops. He was awarded in the DFC London Gazette 4th December 1945. He remained in the RAF after the War and in June 1946 was posted to 35 Squadron where he was selected for operation goodwill, touring the USA with Lancaster Bombers. In 1947 he converted to Avro Lincoln bombers, flying with the central bomber establishment, at RAF Marnham until November 1949. This resulted in the award of the King`s Commendation for valuable service in the air. In 1951 he was posted to 15 Squadron flying the Boeing Washington (super fortress) he then went on to fly the Meteor and Vampire jets until November 1956. The logs record 2556 flying hours For details of the condition of this lot please contact the auctioneer.
Lot 336
Archibald Thorburn, 1860-1935, `Studies of a Herring Gull`, watercolour and body colour, signed with initials, inscribed `Calva` and dated May 20th 1917, 25cm x 36.5cm Archibald Thorburn was born in 1860, near Edinburgh, the fifth son of the miniaturist Robert Thorburn ARA. He showed an artistic talent from a very early age with particular gift for detailed wildlife studies. He first exhibited at the Royal Academy when he was 20 years old. Thorburn`s watercolours, particularly his depictions of game birds have been illustrated in numerous publications. For details of the condition of this lot please contact the auctioneer.
Lot 377
A North European painted armoire, first half 19th century, arched moulded cornice and doors, blue abstract background decorated with panels of flowering vases, turned bun feet, 203cm high, 125cm wide, 55cm deep. For comparative litrature see Robert Young, Folk Art, Mitchell Beazley, London 1999, P. 166
Lot 22
HENRY BROOKE KIRCHHOFFER, R.H.A. (c. 1781-1860) Portrait Miniature of a Lady seated with a young Child inscribed on the ivory reverse `Henry Brooke Kirchhoffer pinxt Cork Jan 1806` watercolour on ivory, unglazed 4 x 3 3/4in (10.3 x 9.5cm) Henry Kirchhoffer entered the Dublin Society Schools in 1797.He exhibited in Dublin in 1801 before moving to Cork.He remained there for a number of years before returning to Dublin in 1816 He exhibited in the first Munster Exhibition in 1815..From then on he exhibited regularly in Dublin . He ws an original associate and member of the RHA.
Lot 79
SARAH STONE (1761-1844) A blue fronted Amazon; and A blue bonnet Parakeet signed and dated `Sarah Stone 1785` (lower left) watercolour 15 1/2 x 11in (39.4 x 27.9cm) ; 15 3/4 x 12 in (40-.1 x 30.5cm) two;(2) Sarah Stone worked as a painter and Natural History illustrator between 1777-1820. Although she never actually visited the Pacific she became well known for her Hawaian, Pacific and Australian subjects. Her work was inspired by the many unknown and often exotic species being seen by Europeans for the first time, and which were being brought back to England on Expeditions, such as those of Captain Cook to the New World. Sarah`s Stone`s detailed and meticulous studies served not only as essential scientific documentation for scientists of the late eighteenth century , but also as works of art in their own right.For comparable watercolours to these- see a watercolour of the Owlet Nightjar on a Branch (National Library of Australia, Canberra) ; and a watercolour depicting An African Grey Parrot (Yale Center for British Art, New Haven. Paul Mellon Collection)
Lot 83
A Continental cream silk and florentine gold panel, possibly Flemish or French, (Of Royal Interest) second half 17th century, lavishly embroidered in flossed silks and gilt metal purl, with seven cartouches; the outer four depicting the Four Evangelists, the inner three, John the Baptist, St. Michael, and St Paul. The panel is also embroidered with fruits including pomegranates, figs and flowers including tulips and irises, laid on oak panel, the size of the panel from the front is 54.5cm x 67.7cm, glazed and framed. The reverse bearing an inscribed paper label ‘Belonged to the Queen of Bohemia, daughter of James I, given to Clement Winstanley Esq by Lord Craven, Coombe Abbey’. It also bears a reframing label from the Hans Gallery to Captain Winstanley. This panel is probably the part of a bed head board or a central section from the hangings of the master bed. See Upholsterers and Interior Furnishings in England, Geoffrey Beard, Yale Press 1997, pp 112, 117, 123. The embroidery is of high quality, and likely to have been worked by a professional workshop in Europe. Pritchard, Frances, All that Glistens Is Not Gold, Text: For the Stufy of Textile Art Design and History , Vol. 35, 2007-8, pp. 16-20, ‘Silver and silver gilt threads were very popular during the sixteenth and seventeenth centuries to judge from surviving examples...A rich medley of metal threads, spangles and foil were often used to special effect on embroideries’ ‘textiles enriched with metal thread were status symbols intended for special occasions’. Lanto Synge, Antique Needlework , Bandford Press, Dorset 1982, Chapter4 The Seventeenth Century pp. 58-91 p.58 - ‘The precision of the designs and the quality of the stitchery suggest that a good deal of this needlework was made professionally. Like the many formal New Year gifts given to Elizabeth I, it is probable that some articles were made in workshops for presentation purposes.’ Various resources have been checked including Elizabeth’s funeral arrangements codicil, roll of accounts, great wardrobe, letters to Elizabeth Broughton, letters to Sir Edward Nicholas 1655-56, Lord Shaftsbury’s accounts on her arrangements for her final days, letters to Lord Craven, and Account books of purchase gifts. In a letter to Sir Edward Nicholas from Elizabeth of Bohemia 1655-1659, 16th May 1659 it is stated that ‘I have today gaven my neeces the last of my flemysh treasures of embroideryd cloths of gold’ (British Library No MS2548). Her codicil states that the finery of her funeral procession should be ‘that of the fynest silk velvet and silk adorned with palatine embroidery’ (National Archives No A01/2354176). It is possible that this could have been a gift upon her marriage to Frederick V, Elector Palatine. . Provenance: A descendant of the Winstanley family, Braunstone Park, Leicestershire, of which there are a number of Clement Winstanleys. James Winstanley purchased the estate in 1649, for the sum of £6,000. The Winstanley’s played a vital role in determining the future economic and social history of their properties in and around Braunstone for the next 275 years. They had a reputation for being fair-minded and judicious, holding important roles as leading dignitaries in The Leicester Corporation. Their decisions influenced the lives of the communities of both Braunstone and Leicester. James Winstanley was a puritan and a lawyer by profession in the service of the Duchy of Lancaster before taking up residence in Braunstone. He and his wife Catherine had three children. James Winstanley was a member of Grey’s Inn and the Recorder of Leicester, a position he held until his failure to conform in 1662. While in office he Proclaimed Oliver Cromwell as Lord Protector. He died in 1666 and the estate passed to his eldest son Clement. Clement like his father was a member of Grays Inn and his wife was also called Catherine. Clement died in 1672 and was buried in the family vault under the alter of the 12th century church of St. Peter’s in Braunstone village. Their eldest son James became the third Winstanley to inherit the estate. He was also a member of Grays Inn and M.P. for Leicester. James married Frances, daughter of James Holt of Castleton. James was succeeded by his son, another Clement, who held the Office of High Sheriff of Leicester. His wife was Jane Parkins sister of the First Baron Rancliffe of Bunny, Nottinghamshire. He died in 1808. The next to become heir was their eldest son Clement, J.P. Lieutenant - Colonel of the Leicestershire Militia from 1802-9. He died unmarried in 1855. The estate passed to his nephew James Beaumont, High Sheriff of Leicester. He was only thirty when he mysteriously disappeared while abroad in Europe. In 1862, the body of James Beaumont was discovered and as he was unmarried the estate for the first time went to a female member of the family, his sister, Anna Jane Pochin. Anna Jane was married to Commander Ralph George Pochin R.N. of Barkby. In 1904 she relinquished the estate in favour of her son Richard Norman Pochin, who changed his name by deed poll to Winstanley. In 1925 the Winstanley land was largely sold for housing development. This item has passed by descent from Captain Richard Innes Winstanley who was born in 1911. ‘The Queen of Bohemia’ and Lord Craven. Elizabeth Stuart (19 August 1596 - 13 February 1662) was the eldest daughter of James VI and I King of Scotland, England and Ireland, and Anne of Denmark. Among Elizabeth’s suitors was King Gustavus Adolphus of Sweden. However Elizabeth married Frederick V, Elector Palatine, she was Electress Palatine and briefly Queen of Bohemia. Frederick’s rule was extremely brief, and thus Elizabeth became known as the “Winter Queen”.. Driven into exile, the couple took up residence in The Hague and Frederick died in 1632. Elizabeth remained in Holland even after her son, Charles I Louis, regained his father’s electorship in 1648. Following the Restoration of the English and Scottish monarchies, she travelled to London to visit her nephew, Charles II and died while there. Elizabeth was educated at Coombe Abbey in the early 17th century with Lord Harington. Had the Gunpowder Plot succeeded she was to have been abducted from Coombe Abbey and proclaimed as Queen Elizabeth II. In 1632 William Craven (1627-65) went to the continent to fight for the dispossessed king of Bohemia, Frederick V, in defense of the Rhenish Palatinate. Whilst there he began a lifelong devotion to Elizabeth. Craven was taken prisoner in 1637 and ransomed himself. He joined Elizabeth, widowed ‘Winter Queen’ of Bohemia, in exile in the Hague. Owing to the overthrow of the Monarchy in England at this time, they were not able to return, and had to remain on the continent until the restoration in 1660. In 1651 the wrath of the Commonwealth was brought to bear on Lord Craven for his continued support of the Stuart cause. His estates were confiscated and sold, and some of the houses were demolished. Combe Abbey, however, escaped this fate as it had been settled on Lord Craven’s heirs. With the restoration of Elizabeth’s nephew, Charles II In 1660, Lord Craven with Elizabeth, whom it is rumoured to have secretly married, returned to England. Lord Craven’s property was returned to him by Charles II, Charles was not willing to provide a house for his aunt, and so Elizabeth lived in Drury House, Lord Craven’s town house. It is believed that Ashdown House, built for Lord Craven was intended for Elizabeth, however she died before it was completed. Craven was a staunch supporter of the royalist cause, providing both Charles I and Charles II with financial aid. He was created Earl of Craven in 1665 having been Baron Craven since 1627. On the 23rd of February, 1662, Elizabeth died and left Lord Craven her collection of
Lot 840
ORREFORS, SWEDISH LIMITED EDITION `150th ANNIVERSARY OF THE FIRST PUBLIC STEAM TRAIN,, 1825-1975` GLASS DECANTER, produced for Shildon `Stockton and Darlington Railway Jubilee Committee,` slab sided form with conforming stopper, acid etched to both sides with related scenes and dated to stopper, 10 3/4" (27.3cm) high, etched mark to base, supplied in original box with a certified numbered 97/150
Lot 166
Six Italian-style wall plates, 19th century, of circular form, the edge decorated with putti and mask, overall decorated with figures in rural scenes, diameter 18 cm, (a/f); six Royal Doulton wall plates, mid 20th century, of circular form and first edition limited to 1500, depicting figures in rural scenes within foliate edge, taken from wall panels originally in the old Charing Cross Hospital, diameter 22 cm, (12).
Lot 679
Ulrico Montefiori Schettini, Italian b.1932- Untitled abstract composition; black ink and mixed technique on paper, signed and dated 1960, 97x62cm (may be subject to Droit de Suite) Note: Ulrico Schettini was born in Cosenza, Italy. After studying art at Pesaro, Paris and Rome he settled in England in 1958. An academically-inclined artist, during the 1960s and early 1970s he lectured at Hull College of Arts and Crafts, Carlisle College of Art and Design, Hornsea College of Art, the City Literary Institute and King` College London. He worked in New York in 1964 and from 1966-71 lectured annually in America under the auspices of the Association of American Colleges. Schettini first solo exhibition was at the experimental New Vision Gallery in 1958, followed by one in Newcastle. He then exhibited at the Drian Gallery in 1959 plus other London galleries in the 1960s. Group shows included the ICA in London and others in Paris and Milan. He had a major retrospective exhibition at the Municipal Art Gallery, Hull in 1966 which attracted international attention. Further exhibitions at the Café Royal, London in 1972 and the Palazzo della Permanente, Milan in 1974. Wildensteins in New York also sold his work.
Lot 746
AMENDMENT: These two prints depict a view of a simulated battle scene with spectators in the Piazza Santa Croce, Florence. They are illustrations to Andrea Salvadori`s "Guerra d`Amore, Festa del Serenissimo Gran Ducva di Toscana Cosimo Secundo", published by Zanobi Pignoni in 1616. See Jules Lieure, `Catalog Raisonnee Jacques Callot Oeuvre Grave`, 1924 Book 1 items no 170 & 171- Jacques Callot, French 1592-1635- "Vno degli Abbattimenti della Guerra Amore Festa del Serenissimo Gran Dvca di Toscana" and "Mostra della Gverra d`Amore Festa del Sermo Gran Dvca di Tosacana Fatta", from `Guerra di Bellaza` by Andrea Salvadori; copper engravings, two, both first state, trimmed, 22.5x30cm., ea., (unframed)
Lot 811
Lots 811-817 are the property of a private collector of Mexican art. The first six lots are a collection of works produced by Mexico`s foremost political printshop, the `Taller de Grafica Popular`. It was founded in 1937 by Leopoldo Mendez, Pablo O`Higgins and Luis Arenal, The Taller was a vibrant collective of established and emerging artists committed to the direct use of visual art in the service of social change. The Taller became a magnet in the progressive design community, and several U.S. artists such as Elizabeth Catlett and Mariana Yampolsky produced work there. Their medium of choice was monochrome relief prints - linoleum prints and woodcuts. Mariana Yampolsky, American/Mexican 1925-2002- "Queremos nuestras escuelas"; linocut, signed, with `Taller de Grafica Popular` stamp to verso, 32.5x25cm: together with five other linocuts by the same artist entitled "Me quede sin escula", signed in pencil, 50x32.5cm, "El Pastor", signed in pencil, 25x32.5cm, "Ninas peinandose", signed in pencil, with `Taller de Grafica Popular` stamp to verso, 25x32.7cm, "Madre con nino", signed in pencil, 50.2x65cm, "Agna para el pueblo", signed in pencil, 50.2x65cm: Adolfo Mexiac, Mexican b.1927- "Dia de muertos"; linocut, with `Taller de Grafica Popular` stamp to verso, signed and titled in pencil, 50.2x33.2cm: together with five other linocuts by the same artist, "Trabajdores del campo", unsigned, 32.5x50cm, "Ninos cantando", linocut printed in colours, signed, titled, dated `55 and number 3/10 in pencil, with `Taller de Grafica Popular` stamp to verso, 32.5x50cm, "Caminos", signed, titled and dated `55 in pencil, with `Taller de Grafica Popular` stamp to verso, 50x32.7cm, "Tomando pozale", signed, titled and dated `54 in pencil, with `Taller de Grafica Popular` stamp to verso, 32.5x50cm, "Campesinos del sur", signed, titled and dated `53 in pencil, with `Taller de Grafica Popular` stamp to verso, 65.2x50.2cm: Lorenzo Jimenez, Mexican early/mid 20th century- "Hornos de adrillo"; linocut, signed in pencil, 32.2x50cm, (13), (unframed)
Lot 864
Bryan Organ, British b.1935- "Courtyard Window"; acrylic on paper, signed and dated 1975 (dated twice), 46x46cm. Provenance; W Frank Gadsby Ltd, 22 Market Place & 7 Braunstone Gate, Leicester, according to label attached to the reverse of the frame (may be subject to Droit de Suite) Note: Bryan Organ was born in Leicester and studied at Loughborough College of Art 1952-5, then the Royal Academy Schools 1955-9. His first one-man show was at Leicester Museum and Art Gallery in 1959 but from 1967 he had a series of solo exhibitions at Redfern Gallery, London. He also had solo shows in New York, Cologne, Sao Paulo and Turin. His work is in many public collections in Britain and elsewhere, including the Tate Gallery, National Portrait Gallery and Whitworth Art Gallery Manchester.
Lot 1705
A Victorian aesthetic satin burr ash chest of drawers, the rectangular top over two short and four long graduated drawers, on a plinth base. 135 x 122 x 55 cm. Provenance: From the estate of Marit Allen, Journalist, Editor, Costume Designer. First working as fashion assistant on Queen magazine in 1961 and then moving to Vogue in 1964 and later on becoming fashion editor of vogue, Marit Allen is widely dedicated with championing young fashion designers and was always well admired in the industry. In 1973 when the director Nicolas Roeg asked her to design the costumes for Julie Christie in the film `Don`t Look Now` Allen soon established herself as a prolific costumier and she continued to work right up to her death. She worked on about 40 films, and was nominated for a Bafta and two Emmy awards.
Lot 166
A collection of coinage comprising a George IV silver crown dated 1822, two Queen Victoria silver crowns dated 1890 and 1891, George V crown dated 1935, quantity of further Victorian silver coinage etc, a Queen Elizabeth II five pound dated 2000, further cupro nickel coinage, Britains first decimal coinage in packet of issue, paper notes etc
Lot 174
A large collection of coinage comprising a Queen Victoria silver crown dated 1844, another dated 1893, a quantity of pre 47 silver, total weight approx 4.7oz, ten Queen Elizabeth II five pound coins, forty two Elizabeth II crowns dated 1972, thirty four Churchill crowns dated 1965, forty Elizabeth II crowns commemorating the Queen Mother dated 1980, ten Elizabeth II crowns dated 1977, and further crowns, ten packets containing Britain`s first decimal coins, packets of threepenny bits, halfpenny, sixpences, florin`s etc, also a cased memorial events of 1982 containing a Falkland Island fifty pence, birth of Prince William and The Papal visit etc
Lot 205
A collection of cookbooks comprising `The Experienced English Housekeeper, for the Use and Ease of Ladies, Housekeepers, Cooks,` dedicated to the Honourable Lady Elizabeth Warburton by Elizabeth Raffald, published by R & W Dean, Manchester and London 1807, `Wholesome Fare`, by Edmund S & Ellen J Delamere, `The Female`s Best Friend or The Young Woman`s Guide to Virtue, Economy and Happiness`, edited and compiled by Watkin Poole, printed and published by J Gleave & Son, Manchester 1826, `Saleable Shop Goods` with numerous counter, tray and window items, `How to Bottle Fruit, Vegetables, Game, Poulty, Milk, Meat, etc` by ex-Sergeant Major G E O Fowler, FR.H.S. `The Modern Housewife or Menagere`. printed in 1853, `Out of the Frying Pan`, an autobiography by Keith Floyd, a First Edition of 2000, signed by Keith Floyd with an amusing picture of a glass of wine, together with numerous books on cooking (31)
Lot 209
James Joyce `Ulysses` published by John Lane, The Bodley Head London 1937, this being a first unlimited English edition, bound in green cloth with gilt lettering and illustration, Samuel Beckett `Waiting For Godot` published by Faber & Faber Ltd, 24 Russell Square London, 1956, complete with original dust jacket, D H Lawrence, a collection of poems, second impression 1931, in paperback form, `Apes And Elderberries` published by The Grasshopper Press London 1950, yellow paperback with black lettering (4) (illustrated)
Lot 217
A collection of books on art to include `Edward Burne-Jones A Record And Review By Malcolm Bell`, printed by George Bell & Sons London 1893, `The National Gallery London`, text by Phillip Hendy, printed by Thames & Hudson Ltd 1955, `The Pictorial Gallery Of Arts`, in two volumes, printed by Charles Knight & Co London 1846, `The Egyptian Book Of The Dead` by Charles H S Davies, printed by G P Putnam`s & Sons New York and London 1894, `Arte Del Vasaio`, the three books of the potters art by Cipriano Piccolpasso (1524-1579), published by the Victoria & Albert museum 1934 with original dust jacket, `The First Part Of The Institute Of The Laws Of England`, printed for E & R Brooke London 1789 (7)
Lot 251
A postcard album containing approximately eighty postcards, containing a signed postcard of Neville Delmar, postcards of soldiers, scenes from Wartorn France of the First World War, London churches, smoke filled postcard of 20th century hell, House of Lords, beach side scenes of The Isle Man, amusing postcards by Taylor, Tom Browne, Donald McGill etc
Lot 2
Kenneth Webb RWA FRSA RUA (b.1927) THE ENCHANTED FOREST, c.1960s oil on canvas signed lower left; inscribed by artist on reverse; also with inscribed Blue Door Studio label on reverse 41.91 by 102.87cm., 16.5 by 40.5in. L "The Blue Door Studio, Dublin; Private collection" "Colour and nature are dominant features of Kenneth Webb’s painting with the West of Ireland marrying these characteristics of the artist’s expression and forming a crucial part of his vocabulary since he first arrived in Galway over fifty years ago. His garden in Connemara is a recurring source of inspiration for him, whether he focuses on its wild flowers, waterlilies, rock pools or turf banks.Born in London, Kenneth Webb began his artistic career in the UK with a Slade Scholarship. He exhibited for the first time with the Royal Academy in 1949 and continued to pursue his studies in design that year in Gloucester College. In 1953 he relocated to Belfast and was appointed Head of The Painting School at the Ulster College of Art where his part-time assistants included Tom Carr, John Luke and Colin Middleton. During his 6 years in this position Webb had a solo show care of the Arts Council of Northern Ireland, founded the Irish School of Landscape Painting and was elected to the Royal Society of Arts. An array of solo exhibitions took place in subsequent years in Dublin and Belfast as well as in the UK, Europe and the US and Canada. In the 1970s Webb opened his studio in Ballinaboy, near Clifden and began exhibiting regularly with Kenny’s in Galway. A 1990s retrospective show was held with Kenny’s and the artist has been the subject of film documentaries and texts exploring his life and works to date. 2006 marked the artist’s 80th birthday and his 18th solo show in Kennys since 1963.To coincide with the Olympic celebrations in London, Webb’s UK agent W.H. Patterson’s, with whom he has a thirty year relationship, will host an exhibition of his current work and highlights from previous years. It will launch on 17 July and run until end August 2012 after which point the exhibits will travel to Hong Kong to be show cased there. We are grateful to the artist for his kind assistance in cataloguing these lots.
Lot 3
Kenneth Webb RWA FRSA RUA (b.1927) POPPIES ON YELLOW, c.1980s oil on canvas signed lower right; with title on reverse 50.8 by 76.2cm., 20 by 30in. L "Colour and nature are dominant features of Kenneth Webb’s painting with the West of Ireland marrying these characteristics of the artist’s expression and forming a crucial part of his vocabulary since he first arrived in Galway over fifty years ago. His garden in Connemara is a recurring source of inspiration for him, whether he focuses on its wild flowers, waterlilies, rock pools or turf banks.Born in London, Kenneth Webb began his artistic career in the UK with a Slade Scholarship. He exhibited for the first time with the Royal Academy in 1949 and continued to pursue his studies in design that year in Gloucester College. In 1953 he relocated to Belfast and was appointed Head of The Painting School at the Ulster College of Art where his part-time assistants included Tom Carr, John Luke and Colin Middleton. During his 6 years in this position Webb had a solo show care of the Arts Council of Northern Ireland, founded the Irish School of Landscape Painting and was elected to the Royal Society of Arts. An array of solo exhibitions took place in subsequent years in Dublin and Belfast as well as in the UK, Europe and the US and Canada. In the 1970s Webb opened his studio in Ballinaboy, near Clifden and began exhibiting regularly with Kenny’s in Galway. A 1990s retrospective show was held with Kenny’s and the artist has been the subject of film documentaries and texts exploring his life and works to date. 2006 marked the artist’s 80th birthday and his 18th solo show in Kennys since 1963.To coincide with the Olympic celebrations in London, Webb’s UK agent W.H. Patterson’s, with whom he has a thirty year relationship, will host an exhibition of his current work and highlights from previous years. It will launch on 17 July and run until end August 2012 after which point the exhibits will travel to Hong Kong to be show cased there. We are grateful to the artist for his kind assistance in cataloguing these lots.
Lot 4
Kenneth Webb RWA FRSA RUA (b.1927) EVENING GLOW, BALLINABOY POND, c.2005 oil on canvas signed lower right; with inscribed label of the Purple Onion Gallery, on reverse 50.8 by 40.64cm., 20 by 16in. P "Purple Onion Gallery, Roscommon; Private collection" "Colour and nature are dominant features of Kenneth Webb’s painting with the West of Ireland marrying these characteristics of the artist’s expression and forming a crucial part of his vocabulary since he first arrived in Galway over fifty years ago. His garden in Connemara is a recurring source of inspiration for him, whether he focuses on its wild flowers, waterlilies, rock pools or turf banks.Born in London, Kenneth Webb began his artistic career in the UK with a Slade Scholarship. He exhibited for the first time with the Royal Academy in 1949 and continued to pursue his studies in design that year in Gloucester College. In 1953 he relocated to Belfast and was appointed Head of The Painting School at the Ulster College of Art where his part-time assistants included Tom Carr, John Luke and Colin Middleton. During his 6 years in this position Webb had a solo show care of the Arts Council of Northern Ireland, founded the Irish School of Landscape Painting and was elected to the Royal Society of Arts. An array of solo exhibitions took place in subsequent years in Dublin and Belfast as well as in the UK, Europe and the US and Canada. In the 1970s Webb opened his studio in Ballinaboy, near Clifden and began exhibiting regularly with Kenny’s in Galway. A 1990s retrospective show was held with Kenny’s and the artist has been the subject of film documentaries and texts exploring his life and works to date. 2006 marked the artist’s 80th birthday and his 18th solo show in Kennys since 1963.To coincide with the Olympic celebrations in London, Webb’s UK agent W.H. Patterson’s, with whom he has a thirty year relationship, will host an exhibition of his current work and highlights from previous years. It will launch on 17 July and run until end August 2012 after which point the exhibits will travel to Hong Kong to be show cased there. We are grateful to the artist for his kind assistance in cataloguing these lots.
Lot 5
Kenneth Webb RWA FRSA RUA (b.1927) WATERLILIES, MARCONI POND, c.1970s oil on canvas signed lower left 50.8 by 76.2cm., 20 by 30in. L "Colour and nature are dominant features of Kenneth Webb’s painting with the West of Ireland marrying these characteristics of the artist’s expression and forming a crucial part of his vocabulary since he first arrived in Galway over fifty years ago. His garden in Connemara is a recurring source of inspiration for him, whether he focuses on its wild flowers, waterlilies, rock pools or turf banks.Born in London, Kenneth Webb began his artistic career in the UK with a Slade Scholarship. He exhibited for the first time with the Royal Academy in 1949 and continued to pursue his studies in design that year in Gloucester College. In 1953 he relocated to Belfast and was appointed Head of The Painting School at the Ulster College of Art where his part-time assistants included Tom Carr, John Luke and Colin Middleton. During his 6 years in this position Webb had a solo show care of the Arts Council of Northern Ireland, founded the Irish School of Landscape Painting and was elected to the Royal Society of Arts. An array of solo exhibitions took place in subsequent years in Dublin and Belfast as well as in the UK, Europe and the US and Canada. In the 1970s Webb opened his studio in Ballinaboy, near Clifden and began exhibiting regularly with Kenny’s in Galway. A 1990s retrospective show was held with Kenny’s and the artist has been the subject of film documentaries and texts exploring his life and works to date. 2006 marked the artist’s 80th birthday and his 18th solo show in Kennys since 1963.To coincide with the Olympic celebrations in London, Webb’s UK agent W.H. Patterson’s, with whom he has a thirty year relationship, will host an exhibition of his current work and highlights from previous years. It will launch on 17 July and run until end August 2012 after which point the exhibits will travel to Hong Kong to be show cased there. We are grateful to the artist for his kind assistance in cataloguing these lots.
Lot 9
Kenneth Webb RWA FRSA RUA (b.1927) WHITE FARM BUILDINGS, NUTTS CORNER, BELFAST, c.1960s oil on canvas signed lower left; signed again, with title and original price [£150gns] inscribed on reverse 50.8 by 60.96cm., 20 by 24in. L "Colour and nature are dominant features of Kenneth Webb’s painting with the West of Ireland marrying these characteristics of the artist’s expression and forming a crucial part of his vocabulary since he first arrived in Galway over fifty years ago. His garden in Connemara is a recurring source of inspiration for him, whether he focuses on its wild flowers, waterlilies, rock pools or turf banks.Born in London, Kenneth Webb began his artistic career in the UK with a Slade Scholarship. He exhibited for the first time with the Royal Academy in 1949 and continued to pursue his studies in design that year in Gloucester College. In 1953 he relocated to Belfast and was appointed Head of The Painting School at the Ulster College of Art where his part-time assistants included Tom Carr, John Luke and Colin Middleton. During his 6 years in this position Webb had a solo show care of the Arts Council of Northern Ireland, founded the Irish School of Landscape Painting and was elected to the Royal Society of Arts. An array of solo exhibitions took place in subsequent years in Dublin and Belfast as well as in the UK, Europe and the US and Canada. In the 1970s Webb opened his studio in Ballinaboy, near Clifden and began exhibiting regularly with Kenny’s in Galway. A 1990s retrospective show was held with Kenny’s and the artist has been the subject of film documentaries and texts exploring his life and works to date. 2006 marked the artist’s 80th birthday and his 18th solo show in Kennys since 1963.To coincide with the Olympic celebrations in London, Webb’s UK agent W.H. Patterson’s, with whom he has a thirty year relationship, will host an exhibition of his current work and highlights from previous years. It will launch on 17 July and run until end August 2012 after which point the exhibits will travel to Hong Kong to be show cased there. We are grateful to the artist for his kind assistance in cataloguing these lots.
Lot 22
Norah McGuinness HRHA (1901-1980) BARLEY MOON oil on canvas signed lower right; with original label on reverse 76.2 by 127cm., 30 by 50in. L "Dawson Gallery, Dublin; Whence purchased by the first owner; Adam`s & Bonhams, Dublin, 30 May 2007; Private collection" `Norah McGuinness Exhibition`, Dawson Gallery, Dublin, 1964, catalogue no. 14 In the original frame of the Dawson Gallery, Dublin.This dark impressive landscape was exhibited at the Dawson Gallery, Dublin in 1964 during which time McGuinness had returned to live in Ireland. Having been formally trained at the Metropolitan School of Art, Dublin, the Chelsea Polytechnic, London, and on Mainie Jellett’s advice, under André l’Hôte in Paris, McGuinness, who was originally from Derry, proved to be a rounded, well travelled and informed artist at this point in her career. The present work, which is likely to have been executed from her cottage studio in the Dublin Mountains where she was living from 1957, shows the artist at her most confident. Her brushwork, while loose and fluid, retains control of technique with its precise application. The tone of Barley Moon is romantic both in title and subject matter. A full September moon dominates the sky and filters into the body of the work before resting in a pool of creamy luminosity in the foreground of the canvas. There is a sense of theatricality to this autumnal moonlight - an element to the work that perhaps resonates her time spent in the theatre world, in The Abbey, Dublin in the mid-twenties and later in the Westminster Theatre in London in the mid-thirties. The spotlight however in this case is focused on Barley Moon’s poetic lunar activity; the overall effect is sensual, mysterious and distinctly feminine.
Lot 34
Harry Kernoff RHA (1900-1974) A COLLECTION OF KERNOFF EPHEMERA books; (6); photographs; (8); negative; (1); exhibition catalogues; (2); calendars; (4); miscellaneous; (6) variously signed, inscribed, annotated and dated; some of the texts with pencil sketches within 0 by 0cm., by in. L "The collection of Winifred Gorry; Thence by descent to the present owner" "Collection contains personal photographs showing Herman ["Hymie"] and his companion Miss Gorry, catalogues (Harry Kernoff exhibitions, group exhibitions, RHA (1941) and IELA (1955) among others, calendars designed by Kernoff (1968 and 1974), an Order Form for woodcuts, reading material including; The Crown Jewels, Semi Precious Stones (both first editions) and Edible Fungi (revised, 1948) as well as Psychology and Psychotherapy by Willuam Brown (1921). Also with sketches by the artist within. Humorous notes such as “I AM THE GREAT KERNOFF!” on one page. Van Gogh by Paul Colin (1926) contains several portrait sketches including a self portrait and a portrait of Herman. A rare, exciting and desirable collection.
Lot 37
William Conor OBE RHA RUA ROI (1881-1968) PORTRAIT OF A RED HAIRED GIRL WEARING A GREEN BLOUSE oil on canvas 59.69 by 48.895cm., 23.5 by 19.25in. P "Collection of the artist, by whom bequeathed to the Linen Hall Library, Belfast; Sold on their behalf by the Bell Gallery, Belfast, to Mr. Courtenay Thompson, Belfast, prior to May 1978 (Certificate of Provenance from the Bell Gallery, dated 30 June 1989); Whyte`s, 21 September 2004, lot 56; Whence purchased by the present owner "Accompanied by a signed manuscript letter from the artist`s biographer, Judith C. Wilson, who researched the history of the painting on behalf of Mr. Courtenay Thompson, in January 1991. Also with numerous photocopied newspaper clippings and photographs. The sitter in this portrait has been variously identified as `Red-Haired Kitty`, `Lily`, ‘Miss Y’, and ‘Mrs T. Walker’. It seems likely that she is actually all of the above. A photograph exists in Conor’s papers (now in the Ulster Folk and Transport Museum), that would appear to be the basis of the present portrait. It is squared up in preparation for transfer to a larger composition, and on the reverse is written: “To Billy with best love from Lily”. The same woman appears in a crayon drawing, in exact mirror image to the present work (see Young Woman in Yellow Dress, catalogue no. 78 in the Conor exhibition, `Children of Ulster`, held at the McClelland Galleries, Belfast, in 1969, illustrated on p.9 of the catalogue). Judith Wilson traced two further portraits of the same sitter. The first known, simply titled Kitty, was exhibited at the Royal Society of Portrait Painters in London, 1930, and was illustrated on the front cover of Colour magazine (Vol. III, No. 2, December 1930). This work is now in the collection of the Ulster Folk and Transport Museum. A second portrait of the same woman, this time leaning against a table, was painted circa 1930, and reproduced in The Daily Express, 10 December 1930, where it titled as Mrs T. Walker. It was used to illustrate an article by R. Stephen Williams, for part of a series by him on “Beauty in Ulster”. Conor was asked to select the representative beauties and paint their portraits, after which Williams interviewed them. The portrait was later exhibited as Red-Haired Kitty at the Royal Academy in London, 1931, and was illustrated in the accompanying catalogue. The following year it appeared on the front of G.F.S. Magazine, along with a short ‘puff’ by journalist May Cunningham, eulogising the sitter’s “charming and racy” looks. Conor evidently liked the work too, for he showed it again, this time in Dublin at the 1936 RHA, where it was enigmatically titled “Miss Y” and illustrated in a review of the exhibition. The present work was presumably a favourite of the artist’s, as gallery owner Nelson Bell recollects that it formerly hung over the fireplace in Conor’s dining room in his home on Salisbury Avenue, Belfast.
Lot 68
Henry George Gandy DSO OBE (1879-1950) THE FORBIDDEN CITY, PEKING (BEIJING), FROM COAL HILL watercolour over pencil signed lower right; with title and inscription on reverse 24.13 by 41.275cm., 9.5 by 16.25in. L Family of the artist "Inscribed by artist on reverse: "Lady Norah Jellicoe, 7 Cadogan Square, SW1 & Phillips Oppenheim".Henry George Gandy was born in 1879, in Northumberland, England, the son of a British Army officer. After being educated locally he followed the career path of his father and received a commission in the Royal Engineers in 1899 after which he saw service in South Africa during the Anglo-Boer War. His interest in art flourished during his army career which allowed him to visit many parts of the world and paint scenes still considered exotic to most Europeans at this time. In between the Boer and First World Wars Gandy served in Somaliland, Egypt and the Sudan where he became well known for his sketches and caricatures.The following paintings were mostly completed between 1924 and 1928 during which time Gandy was serving as a Lieutenant Colonel with the Royal Engineers in Colombo, Ceylon (now Sri Lanka). The popularity and quality of his artwork was demonstrated by the fact that his scenes of Hong Kong, China and Singapore were reproduced in books and also on postcards by the famous publishers Raphael Tuck. His work serves as a record of cultures and ways of life which have now changed almost beyond recognition in many of the countries that he visited. H. G. Gandy retired from the army in 1932 after an illustrious career, during which he was awarded the Distinguished Service Order, Order of the British Empire, and Turkish Order of the Mejidie. He died at Hampshire, England in 1950 at the age of 70.
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