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Lot 333
Meteorite - Masthead ( Mast Head ) - A pair of c1961 vintage industrial nautical maritime ships half round lamps / lanterns. Both with makers plaques and serial numbers ' C26440 ' and ' C26439 ' patent No. 546575. The casing made of galvanised steel with a bevelled thick glass lens. Removed from the ' Harry Brown ' Sea Dredger by the vendor who worked on the ship in his earlier days. Measures; 60cm x 35cm x 30cm.
Lot 24
A Brass 7" Radius Heath & Co London Mark III Sextant. The brass sextant with silver inset scale index arm with magnifier, thumb screw lock, horizon mirror, coloured lens and 7" brass telescope with additional ocular and objectives all contained within the original mahogany box, the whole stored in the original leather case (af), with gold tooling Heath & Co Ltd, New Eltham London. Numbered U369 National Physical Laboratory Certificate of Examination dated Jan 1920 and a further pink slip indicating adjustment in 1943.
Lot 26
A Quantity of Vintage Camera's. This lot includes a Polaroid SX-70 Land Camera with manual in with the original box. A Minolta Dynax III with lens AF28-80 in bag with manual. Praktica Super TL1000 in original body case with manual. Kodak Bantam Colosnap in the original case with manual. Hanimex 35RAS, Canon Powershot S3 IS with manual. Olympus AF-1 with various accessories including lens, hoods and various filters.
Lot 1102
Olympus XA2 Range Finder 35 mm Compact Film Camera with Detachable Flash. Produced 1980 - 1986, Features Lens D Zuiko 35 mm, Self Timer, Thumb wheel Winder, Weight 200 grams, Exposure Meter CDS, Picture Size 24 mm x 36 mm and Many More. Wonderful Condition - As New. Complete with Olympus XA2 Instruction Booklet et.
Lot 1104
Photography Interest Voigtlander Viewfinder Vito B 50mm Camera Circa 1954 Collectors camera in wonderful condition, very well designed with high quality Prontor zoom lens, colour Skopar fixed lens and Prontor SVS leaf shutter. Complete with original fitted camera case and carry strap. All in very good condition.
Lot 116
Roderic O'Conor (1860-1940)Etude, Femme à Contre JourOil on board, 62.2 x 50.8cm (24½ x 20'')Signed and dated (19)'07; signed again and inscribed 'Etude. Roderic O'Conor No.3' versoAtelier 'O'Conor' stamp versoProvenance: Hotel Drout, Paris 'Artist's Studio Sale', 7th February 1956; Crane Kalman Gallery, London, March 1959; Robert Hodsell 1959; later with Ben Goldstone; sold Christie's 'Irish Sale', May 2003, Cat. No.67, where purchased by current owner.Exhibited: Possibly 'Salon d'Automne' 1909, No.1319.Literature: 'Roderic O'Conor: A Biography with Catalogue of his Work' by Jonathan Benington, Dublin 1992, Cat. No.127, p.205.Shortly after moving to Paris from Brittany in 1904, O'Conor produced a group of studio interiors in which the figure was portrayed against the light, or contre-jour. Doubtless he was aware of the use made of this technique by Degas and Bonnard, both of whom took similar delight in the resonance and ambiguity of shadows.O'Conor responded to the new challenge with gusto. Finding his feet in new cosmopolitan surroundings, he felt, impelled him to develop a new approach. For the first time in his life he was the proud and sole occupier of a spacious studio, illuminated on one side by a series of large windows. He quickly found that the effects of light and shade, contrast and colour could be endlessly adjusted by placing his models at varying distances from the windows, and by painting them at different times of day. One way to expand the range of such opportunities was to interpose his subjects in the space between the light source and his easel, thereby making it appear as if they were emerging dramatically from the shadows.O'Conor's contre-jour body of work comprises a self-portrait and several paintings of nude and clothed female models. The present work is arguably the most surprising and the most daring of the entire group. The figure is viewed at close proximity, so that the masses of her torso and skirt completely dominate the composition; we are, in truth, almost within touching distance of this mantled figure whose facial features we are unable to discern. The light reflects off her neck, shoulder and bodice, dazzling in its brightness, and yet the absence of detail that is a direct corollary of the viewing conditions means that she must remain an enigma.Capturing such a scene with a camera would be virtually impossible - the lens could never cope with the extreme light-dark contrasts. Only a brave artist would attempt it in paint, knowing that the glare of light from behind the subject would demand something extra from the colours at his disposal. O'Conor's solution is easy to discern: he pushed the plastic properties of oil paint to new extremes of gesture and impasto. The sensuous build-up of pigment in this work is at once highly experimental and daring. Whilst the mosaic-like textures prompt comparison with Sickert's paintings dating from 1907, such as 'The Juvenile Lead', the approach of the Irishman is so radical as to be ahead of its time, anticipating the work of contemporary artists such as Frank Auerbach.Jonathan BeningtonA major exhibition, Roderic O'Conor and the Moderns at the National Gallery of Ireland, co-curated by Jonathan Benington runs until October 28th 2018
Lot 55
Norah McGuinness HRHA (1901-1980)Sunflowers, Algarve CoastOil on board, 56 x 71cm (22 x 28'')SignedIn the summer of 1961 Norah McGuinness stayed in the Algarve where she produced several paintings. Six of these were included in her successful solo exhibition staged at the Dawson Gallery that autumn. This work is similar to other Portuguese landscapes, such as In the Algarve (1961, Private Collection), and dates to this time. According to a contemporary account, the artist found the soaring temperatures in Portugal so extreme that she cut short her stay to return to the cool of her studio in the Dublin Mountains. (1)This colourful work takes in a panoramic view of the Portuguese coastline dominated by a castellated hilltop town with whitewashed walls in the distance. To its left the Sierra is made of strange conical mountains. In the foreground a peasant woman, wearing traditional black and a large hat, carries a basket. The figure emphasises the timeworn nature of everyday life in Portugal, confirming a touristic idea of the country as remote and untouched by modernity. By contrast, below on the yellow sands of a cliff lined beach, the tiny figures of sun-bathers and holidaymakers are visible. The dried out form of a large sunflower dominates the left-hand foreground. The motif, which McGuinness also uses in In the Algarve, denotes the overwhelming power of the sun, as does the burnt orange of the scorched terrain in which it grows. McGuinness’s combination of strong oranges and yellows and the deep blues of the sea and sky impart a sense of the exotic beauty of the Algarve. As in her views of Ireland, the artist applies a cubist inspired lens to the composition. The paint is applied in small rectangular patches and subtle repetition of geometric forms articulates the landscape. Róisín Kennedy, August 20181) ‘Irishwoman’s Diary’, Irish Times, 10 November 1961, p.10.
Lot 210
δ Gary Hume (b. 1962)The ClericScreenprint in colours, 2000, signed, dated, titled, inscribed 'A.P.' and numbered in roman numerals from the edition of 30 in pencil, an artist's proof aside from the edition of 300, on wove paper, published by Counter Editions, London, with full margins, sheet 1020 x 760 (40 x 30in) (framed)In the present work Hume references popular contemporary subjects such as Kate Moss, blackbirds and flowers, but transforms them through the lens of his distinct artistic style. His abstraction creates an uneasy tension, making what was once familiar suddenly strange. The result is a work that is awkward, edgy but also beautiful, as it both attracts and repels its viewers. δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
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