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Click here to subscribe§ Stanley Orchart (British, 1920-2005), The Ethelbert Gate, Norwich Cathedral, signed "Orchart '74" in pencil lower left, watercolour, 35 x 46 cm. Provenance: T C Eaton Collection, 1974, and thence by descent. Exhibited: Norwich, Buxton Mill Galleries, Exhibition No. 58. Conditon is fine - old exhibition labels to the reverse.
Aloysius O'Kelly (1853-1936)The Gate of Bab ZuwaylaOil on canvasSigned and inscribed 'Cairo'From childhood, Aloysius O’Kelly lived and breathed a mixture of art and political sedition in Ireland, Britain, France, and the United States, as well as outposts of empire such as Sudan and Egypt. In 1883, he and his brother James were drawn into the vortex of violence surrounding the Mahdi in Sudan, James as war correspondent for the Daily News and Aloysius as illustrator for the Pictorial World. O’Kelly’s illustrations of the jihad in Sudan were part of a plan to thwart Britain in Ireland. By distracting Britain overseas, they sought to destabilise the coloniser in Ireland. The conventions of Orientalism were problematic for O’Kelly, because he was bound by them aesthetically, but resistant politically. O’Kelly subverted the insidious representation of the East as exotic by rendering it ordinary. The Egyptian stereotype was of an unreasonable, superstitious, ignorant, indolent, sexually incontinent, deceitful and dirty people in need of civilising by their colonial masters (much like the Irish). Indeed, there are ethnographic continuities between O’Kelly’s North African and Irish paintings, as manifest in his Mass in a Connemara Cabin and The Harem Guard.This painting was executed in the mid 1880s. It shows the Bab Zuwayla gate in Cairo.1 The old city was divided into quarters, separated by gates, manned by porters. On the left, the ever-present donkey and donkey-boy, and on the right, the watercarrier, pass through. While O’Kelly, and his master, the Orientalist Jean-Léon Gérôme, shared an interest in ethnographic realism, O’Kelly was clearly concerned with modern Cairo - as it was rather than as its colonial masters thought it was, or should be - a benign view of a stigmatised setting.O’Kelly’s topographical competence is undeniable; the red and white coursed stone work, the deep shadows and bright sunlight attest to his skills as an enchanting urban portraitist. But Cairo in the 1880s was a tinder box, a source of great anxiety to the colonial authorities. The savage repression of the Egyptian nationalist movement had created massive social problems - the narrowness of the streets may have kept the inhabitants cool in the heat, but there were political consequences for a population packed together. This has the initial appearance of a highly finished painting, evident in the detailed treatment of the architecture, but on closer inspection the brushstrokes are looser, more vibrant and gestural than one associates with conventional Orientalist painting. Prof. Niamh O’Sullivan1. I am grateful to Prof. Bernard O’Kane at the American University in Cairo, for identifying the location
A Worcester Milkmaid at Gate pattern tea bowl, printed in black after an engraving by Robert Hancock, with man standing by a gate in conversation with a milkmaid who carries a pail on her head, a group of cows and substantial buildings in the background, the verso with Milking Scene, No2, with a pastoral scene of a girl milking a cow, black line rim, 7.2cm diam, c.1756-60.Note: Milking Scene No. 2 was most frequently used for decorating the inside of single handled early sauceboats of about 1756. Condition Report: Good condition. Stable hairline crack. Warped in kiln.
A cattle horn powder flask, later carved in the American Folk Art manner and inscribed Pte. Roberts in Cpt. Peytons Company in the 9th Regiment St Augustin, March 1767 and The City of Hava Illuminated At The Embarkation of the British Troop July the 7th 1763, with North Port Gate, palace, ships, Apostles Battrey, Shepherds Battery, Newstore, Reglier, 37cm long, 20th century hardwood display stand
Maximianus AR Argenteus. Thessalonica, AD 302. MAXIMIANVS AVG, laureate head right / VIRTVS MILITVM, four-turreted camp gate with doors thrown open; star above arch, TS•B• in exergue. RIC 11b; 11b var. (officina unrecorded, R5); RSC 631†a. 3.42g, 20mm, 12h. Good Extremely Fine. Extremely Rare.
Maximinus II, as Caesar, AR Argenteus. Serdica, AD 305-307. MAXIMINVS NOB C, laureate head right / VIRTVS MILITVM, three-turreted camp gate; no doors; •SM•SDA• in exergue. RIC 22; RSC 206. 3.18g, 20mm, 6h. Near Mint State; light cabinet tone. Very Rare. Ex H. D. Rauch 99, 8 December 2015, lot 293; Ex Numismatik Lanz 144, 24 November 2008, lot 680.
Micheal Macliammoir, 1889-1978 OIDHCHEANNA SIDHE – FAIRY NIGHTS Pen abd watercolour, 14 1/2" x 10" (70 x 25.5cm), signed and dated 1919 Exhibited: All for Hecuba, Hugh Lane, Municipal Gallery of Modern Art, Dublin 4th October-2nd November 1978 (Cat No. 4). An exhibition to mark the Golden Jubilee for the Edwards- MacLiammóir partnership of the Gate Theatre 1928-1978 (Catalogue Available with purchase) The Catalogue note reads: Title Page from Oidcheanna Sidhe, published by the Talbot Press in 1922, captioned “d’Feacg sí trid na crainnte” (“she peeped through the trees”). Provenance: Collection of Micheál Ó hAodha, Abbey Theatre Director and biographer of Micheál MacLiammóir, and by descent to the previous owner.
TWO OIL PAINTINGS AND AN ERIC STURGEON PRINT, 'Yorkshire Coast near Bridlington', oil on canvas, indistinctly signed lower right, titled verso, gilt framed, approximate size 49cm x 75cm, together with an oil on canvas of a continental countryside scene, signed A.Busch? lower right, gilt framed, approximate size 58cm x 89cm and Eric Sturgeon 'The Winter Gate' 797/850, signed in pencil (3)
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