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Lot 402
Cricket - Three Early 20th Century Cricket Books including Great Batsman, Their Methods at a Glance by George W. Beldham and Charles B. Fry, 1905, has applied tape to the edge of the boards and spine plus a clear covering also to boards and spine, Triangular Cricket being a record of the greatest Contest in the History of the Game by E. H. D. Sewell, 1912, signed by the author and The Practical Cricketer by J. N. Crawford. (3)
Lot 469
Clark, R - "Golf - A Royal and Ancient Game" - scarce presentation copy bound in full leather with gilt ribbed spine - 2nd ed 1893 publ'd by R & R Clark Edinburgh - c/w various illustrations with tissue covers - spine and boards rebound and some slight discolouration to the edges of only one or two internal pages - c/w presentation label laid down to the front inside boards overall impressive looking book hence (G)
Lot 630
1979 Ryder Cup Signed Victory Dinner Menu - played at Greenbriers West Virginia and signed by both teams which included for the first time the first ever European Team - although Europe lost 17-11 - the team included for the first time Seve Ballesteros who played in all four matches winning only one game - interestingly Jack Nicklaus failed to qualify for the first time since 1963 and Tom Watson withdrew the day before the competition (for the birth of his first child) and was replaced by Mark Hayes - European team was captained by John Jacobs and US team by Billy Caspar - both teams signed next to the team line up - internally very clean - c/w original white silk cord - overall 16 x 10.5" - some minor creases down the spine of the cover, corners slightly bruised and 2x dinner stains to the front cover
Lot 700
Golf Collecting Reference Books - one signed (4) - to incl Henderson and Stirk classic -"Golf In The Making" revised edition; John and Mort Olman - "Guide to Golf Antiques and Other Treasures of the Game"1st ed; Alick A Watt signed -"Collecting Old Golfing Clubs" 1st ed 1985 and signed by the author to the main title page and Laurence Sheehan - "A Passion for Golf-Treasures and Traditions of the Game" fist ed 1994 publ'd New York - all with their dust jackets - some wear and tears to the dust jacket on Alick Watt's book otherwise overall (G)
Lot 762
2x early golf board games to incl Chad Valley Golf Tidleywinks c/w board, 6x greens, 5x flags etce - incomplete - box has the original label to the lid c/w instructions - but well used with sides split etce (AF) and a Made in France board game titled Les Sports au Coin du Fell Golf - c/w board with revolving panel to retrieve the ball - made by Brevette SGDG - in the original box c/w instructions to the lid again corners split (AF)
Lot 810
Stirk, David signed- "Golf: History and Tradition 1500 - 1945 " 1st ed 1998 signed by the author to the main title page - c/w dust jacket (VG) - Note David Stirk attempts the incredible task of chronicling the origins of the game of golf and the growth of golf traditions down the ages - although principally concerned with the period of about 450 years up to the end of the Second World War he does delve back further in time to the Romans and the early inhabitants of France and the low countries.
Lot 119
Children's Games - Trap Bat and Ball Game include trap with ball and bat shaped in a cricket bat style with sloped shoulders, measures 48cm approx. together with Jacques Giant Floor Dominoes in a complete set of 28 dominoes all maintained through a centre spike on stand and a Child's Cricket Bat (3)
Lot 197
Cricket - Extremely Rare and Early 18th Century Cricket Bat - a fascinating cricket bat, shaped like an enlarged hockey stick and bears matching characteristics to one of the earliest known examples displayed at The Oval pavilion (see 'The Wisden Book of Cricket Memorabilia', 1990, p229 "J.C. 1729"). This particular example is a left-handed bat, length is 38" (96.5cm), weight 3lbs (1.36kg) and at its widest point is 4" (10cm) wide. It has evidence of use to hammer in stumps, there are screws to the bottom of the shaft where likely a plaque was once attached, the top of the handle has pins and a slit to suggest evidence of a cord binding at some stage, there is a large crack throughout the head of the bat with a chip to the top. It is possible this was caused as a result of dealing with the grub bowling style that was used during that period (see M.C.C. Collection Print 'The Game of Cricket as played in the Artillery Ground, London, 1743' by Francis Hayman R. A). This style of bat became obsolete when a third stump was introduced in 1780. This example was originally obtained via the Taylor family who are connected to the Clapshaw Business. Purportedly rescued from Breaston CC Derbyshire (1836), once on display in the pavilion in the Soldier and Sailor Sports Ground.
Lot 205
A late 19th Century Stourbridge clear crystal claret jug of shouldered ovoid form with a slice cut neck, applied loop handle and hollow blown stopper, finely engraved with a pair of rutting stags to a woodland setting, height 28cm, together with three later engraved drinking glasses decorated with various game birds. (4)
Lot 253
A PART 19TH CENTURY POTTERY DINNER SERVICE "Copeland and Garrett late Spode", Aesops Fables design, transfer printed in green, various scenes named verso include; "The Fox and the Grapes", "The Stag looking into Water", "The Lion in Love" etc., compr ising; vegetable tureen with cover, a salad bowl, mazarin drainer, graduated meat and game serving platters, twenty-one 25cm diameter plates, eight 21.5cm diameter plates etc., 48 pieces
Lot 376
A COLLECTION OF BOOKS ON GUNS AND SHOOTING including Purdey, T.D.S. and J.A. "The Shotgun", 1965, dustwrapper, THOMAS GOUGH "Shotguns and Cartridges", 1970, dustwrapper, ROBERT CHURCHILL "Game Shooting", 1955, LORD HOME "Border Reflections", illustra ted Rodger McPhail, 1979, dustwrapper and fourteen other similar titles (18)
Lot 346
Victorian Ridgway & Co buff stoneware relief moulded jug depicting TAM O' SHANTER and with pewter hinge lid, the base impressed 'Published by W. Ridgway & Co, Hanley, October 1, 1835', height 20cm; together with another Victorian relief moulded jug with oval panels of hung game and fruit with ribbon scrolls amongst vine leaves (2)
Lot 166
Queen Victoria visiting the Duke of Wellington at Stratfield Saye.- Heathcote (Sir William, fifth baronet, politician, friend of John Keble, of Hursley Park, Hampshire, 1801-81) An account of a visit by Heathcote to meet Queen Victoria at Stratfield Saye, autograph manuscript, 3pp., docket on verso, folds, folio, Hursley Park [Hampshire], 24th January 1845.⁂ "WH On Monday January 20th 1845, I went, by the invitation of Arthur, the great Duke of Wellington, to Stratfield Saye, to meet Queen Victoria, & Prince Albert... On Wednesday afternoon, being wet, they went into the tennis court, where Lord Charles Wellesley, & three... played a match to show them the game, and afterward the Prince spent some time (the Queen still looking on) in learning to play." - Heathcote.
Lot 686
A LATE 19th CENTURY BLACK FOREST MUSICAL CUCKOO CLOCK the architectural carved case with hung fox and pheasant above game bag surrounded with carved oak leaves, the 6.5" dial surrounded by a hunting horn having porcelain Roman numerals fronting a three train weight driven movement with skeletonised brass plates and Swiss music barrel playing on the hour after gong strike and cuckoo 60cm high
Lot 1
Basil Blackshaw HRHA RUA (1932-2016)Three Sisters (1981)Oil on canvas, 51 x 61cm (20 x 24'')SignedProvenance: The collection of Brian and Anne FrielExhibited: ‘Basil Blackshaw Retrospective’ (Travelling Exhibition), Arts Council of Northern Ireland, Ormeau Baths Gallery, Belfast November/December 1995; Model Art and Niland Gallery February 1996; and The RHA Gallery January 1997.Literature: ‘Basil Blackshaw: Painter’ edited by Brian Ferran, Full page illustration Plate 101, Page 62.This was used for the program of Brian Friel’s version of Chekov’s ‘Three Sisters’. The image is of an isolated Dacha. When I look at this work ‘Three Sisters’ a number of names and places comes to mind apart from Brian Friel and Chekov. I am reminded of ‘Shack in Monaghan’ (1981) by Blackshaw. I’m further reminded of Yeats’s poem about Countess Markievicz and her sister and their home at Lissadell in Sligo. I recall too Lorca’s Barraca - a travelling theatre in Spain.We know that Basil was commissioned by Field Day founders Brian Friel and Stephen Rea to paint a number of posters to promote plays being performed from 1980 onwards as a cultural and intellectual response to the political crisis in Northern Ireland at that time. Basil confessed to me he didn’t go to the theatre very much but got the gist of what Friel was putting on at that time from his partner Helen Falloon who was keener on theatre. A wink was as good as a nod to a blind horse as far as Blackshaw was concerned hence his response to Friel’s version of Chekov’s ‘Three Sisters’ - he painted a house with three windows naming the work ‘Three Sisters’.Artist and former Northern Ireland Arts Council Chief Executive Brian Ferran observed of Blackshaw’s ‘Three Sisters’ image: “an isolated house set back in the landscape”. Of course, Blackshaw had to find ‘an otherness’ to express his way of portraying what he considered to be the essence of the outplaying of the dramatist’s Three Sisters. A house with three windows ended up symbolic of the family at the centre of the production. Interestingly windows would return in earnest in Blackshaw’s output in the final decade of his life. The Windows series now hangs in IMMA. Blackshaw and Friel remained lifelong friends. On meeting, the dialogue reportedly went like this: “Are you painting these days Basil Friel would ask, “No - the well is dry. Nothing’s happening and what about you Brian are you writing anything” Basil would query. “No, nothing happening”. Of course both of them were lying to each other. It was all part of a game which went on between what a mutual friend to both described to me as “two foxes playing with each other”. We will not see the likes of them again.Eamonn Mallie, August 2018
Lot 20
Basil Blackshaw HRHA RUA (1932-2016)Game CockOil on canvas, 51 x 61cm (20 x 24'')SignedTom Caldwell Gallery label versoProvenance: Bought by Anne for her husband Brian at the Tom Caldwell Galleries (Label verso) because she thought that the bird had the look of a survivor.Basil Blackshaw was as much at home in the company of horses, dogs or roosters as with human beings. He loved rural life and among his pursuits was cock fighting. He was an unapologetic 'edge of society' man slipping away with one old codger or another with a rooster in a bag for a secret fight along the Armagh - Monaghan border. That was Blackshaw’s All Ireland final.I recall visiting Basil in hospital some years before his passing and he and a Filipino nurse by the side of his bed started sharing stories about cockfighting. The nurse’s grandfather owned roosters. Basil appeared to improve dramatically as he grew more excited about names of famous breeds of Filipino fighting cocks. Author Jennifer Johnston, a friend of Blackshaw, regaled me with accounts of vicious exchanges she used to have with Basil in the early 70s arising from his many legendary tales about his cockfighting exploits. She protested “he just ignored me and returned the next time I met him to tell me more lurid stories about his cocks”.Blackshaw captured his roosters in various stances. Sometimes with their necks fully stretched skywards, chests puffed out after a good feed. With this intensity one can almost hear a deafening crowing. The position of the bird on offer in this sale is another common stance for Blackshaw’s cocks: portraying that movement when the rooster ‘goes for the kill’. One senses the dust is rising and feathers will fly soon. It’s the bullfight experience all over again. Interestingly Blackshaw rarely painted two birds on the same canvas, he appeared to want to lock all the power and ferocity into the single bird which he opted to paint.Eamonn Mallie, August 2018
Lot 75
Erskine Nicol RSA ARA (1825-1904)Awarding Prizes in a Village SchoolOil on canvas, 76 x 120cm (30 x 47¼'')Exhibited: Royal Hibernian Academy of Arts, 1848.A native to Scotland, Erskine Nicol first visited Ireland in 1846 and remained in the country for the following four years, drawing inspiration from scenes of rural life. Arriving in the early stages of the Great Famine, Nicol was to bear witness to the horror of a starving Ireland, however his works are tinted by a Victorian ideal and he instead chose to portray a poor, but largely jovial community. Such images appealed to Nicol’s clientele in Dublin and London and were greatly admired for their sympathetic rendition of a rustic Ireland.‘Awarding Prizes in a Village School’, is a superb example not only of Nicol’s skill as an artist, but of his ability to translate a strong sense of humour through his work, something which we see across his oeuvre. With the introduction of a state-supported National School System in 1831, primary education was made more readily available to rural communities and it saw the establishment of thousands of schools across the country. At a time of social upheaval, such a subject matter would have seemed favourable to those loyal to the British government as it portrayed an educated and prosperous Ireland. Therefore, picking one such school as the backdrop for this work, Nicol conjured up a scene of childhood mischief that would not look out of place in today’s classroom. Whilst our eye is initially drawn to the centre of the painting and the act of the prize giving itself, we cannot help but be distracted by the antics of the children. Our interest is piqued as we strain to hear the secrets whispered to the boy second in line. A flurry of activity behind and through the open door illuminates a game of leap frog, whilst the light source to the left of the painting is comically obscured by a boy as he presses his face against the glass, inciting a retaliation from a child within.The slightly dishevelled building romantically mirrors the personality of its occupants and would have brought a charming portrayal of rural life to Dublin when exhibited at the Royal Hibernian Academy in 1848. Although often considered as quite a satirical painter, ‘Awarding Prizes in a Village School’ belies the genuine sympathy and affection of Nicol towards his subject matter. In this painting, we do not see the boorish examples of the Irish race as depicted so often by British artists at the time, and, indeed, by Nicol himself. Instead, each model is formed with a tenderness that generates a genuine human interest and invites the viewer in as not only an observer but, perhaps, as a participant as well. Helena Carlyle, August 2018
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