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Lot 324
NO RESERVE Pym (Barbara) A Glass of Blessings, first edition, original boards, dust-jacket, very light toning to spine, short closed tear to foot of upper joint, lower panel a little browned with some light surface wear, minor chipping to foot of flaps, light surface soiling, extremities a little rubbed, 8vo, 1958.⁂ Pym's fifth novel, rare.
Lot 17
NO RESERVE Achebe (Chinua) Arrow of God, first edition, original boards, slight bumping to spine tips, dust-jacket, light toning to spine, spine ends and corners a little chipped, light rubbing to extremities, slight creasing to head, otherwise excellent, 1964; and a signed first edition of Wole Soyinka's You Must Set Forth at Dawn, 8vo (2)⁂ The final book in Achebe's acclaimed African trilogy.
Lot 389
Wheatley (Dennis) The Island Where Time Stand Still, scattered faint spotting, original cloth, dust-jacket, chipping to extremities, a little rubbed, 8vo, 1954; The Ka of Gifford Hillary, original cloth, light mottling, dust-jacket, tear to upper cover, light chipping and creasing to corners and extremities, a little rubbed, 1956; The Dark Secret of Josephine, scattered faint spotting, original cloth, slight bumping to spine extremities, dust-jacket, 4 short tears to edges, creasing and chipping to edges, a little rubbed, 1955; The Time Has Come ... The Memoirs of ..., 3 vol., vol. 1 only signed by author, original cloth, fractional bumping to spine extremities, dust-jacket, slight creasing to edges, 1977-79; first editions, signed and inscribed by author; and others by the same, 4 of which signed by author, 8vo & 4to (29)⁂ The first three mentioned are inscribed to George Grafton Greene
Lot 359
NO RESERVE Swift (Graham) The Sweet Shop Owner, 1980; Learning to Swim and Other Stories, London Magazine Editions, 1982; Waterland, spotting to top edge, 1983, first editions, signed by the author on titles, original boards, dust-jackets, some very light sunning to spine, light creasing to head, fine copies generally, 8vo (3)
![NO RESERVE Larkin (Philip), Francis King, Roy Porter and others. Oxford Poetry 1943-1943, original wrappers, Oxford, [1943] §](https://cdn.globalauctionplatform.com/013bc1ec-a2f0-4a0c-8277-b0cf00c8c65b/447208c5-5dd2-4d65-a07a-b0cf00d5304c/468x382.jpg)
Lot 215
NO RESERVE Larkin (Philip), Francis King, Roy Porter and others. Oxford Poetry 1943-1943, original wrappers, Oxford, [1943] § Graves (Robert) Welchman's Hose, woodcut illustrations by Paul Nash, original cloth-backed boards, slight wear to spine ends, The Fleuron, 1925 § Johnson (B.S.) Poems Two, original boards, dust-jacket, light toning to spine, minor chipping to spine tips and corners, 1972, first editions; and 2 others, poetry, 8vo (5)
Lot 24
Adams (Richard) Tales from Watership Down, first edition, signed presentation inscription and original illustration from the illustrator of rabbit in pen, pencil, and watercolour, on dedication page, ALs from the illustrator loosely inserted, jacket with light creasing to spine ends, 1996 § Pullman (Philip) The Amber Spyglass, first edition, signed by the author on title, 2000, original boards, dust-jackets; and 2 others, modern literature, 8vo (4)
Lot 247
NO RESERVE Lowndes (Mrs. Belloc) Cressida: No Mystery, first edition, signed presentation inscription from the author to Lady Bonham Carter to front free endpaper, original cloth, very light fading to spine, rubbing to spine tips and corners, dust-jacket, sunning to spine, spine ends and corners a little chipped, closed tear to upper panel, neat tape repairs to verso, panels with 1 or 2 short nicks with light creasing, a very good copy, 8vo, 1928.⁂ Lowndes' Christmas mystery novel inscribed to the politician and patron of the arts Violet Bonham Carter (1887-1969) with whom the author was an occasional correspondent.
Lot 351
Smith (Stevie) A Good Time Was Had by All, signed by the author "with love from Stevie Smith" on endpapers, spotting, original cloth, dust-jacket, chipping to extremities, light surface soiling along joints, spine a little browned, 1937; Tender Only to One, light spotting, the author's own copy with her ownership inscription to front free endpaper, and correction to title of poem on p.64, original cloth, spine ends lightly frayed, 1938; Novel on Yellow Paper, or Work it Out for Yourself, original cloth, dust-jacket, light nicks and chips to extremities, short tear along lower joint, still excellent, 1936, first editions, 4to (3)
![Stark (Freya) [Autobiography], 4 vol., comprising Traveller's Prelude, reprint, signed by the author on half-title, boards ve](https://cdn.globalauctionplatform.com/013bc1ec-a2f0-4a0c-8277-b0cf00c8c65b/b7e86118-ed9c-452e-844e-b0cf00d48c33/468x382.jpg)
Lot 353
Stark (Freya) [Autobiography], 4 vol., comprising Traveller's Prelude, reprint, signed by the author on half-title, boards very lightly marked, 1951; Beyond Euphrates, first edition, 1951; The Coast of Incense, first edition, 1953; Dust in the Lion's Paw, reprint, 1962, photographic illustrations, light browning and spotting to preliminaries or endpapers, original boards, dust-jackets, price-clipped with new price stickers, light nicks to edges, otherwise a very sharp and bright set, 8vo. ⁂ A remarkably bright set of Stark's autobiographical quartet.
Lot 25
NO RESERVE Aiken (Joan) The Wolves of Willoughby Chase, jacket with very light toning to spine, light rubbing and slight creasing to spine tips and corners, 1962; Dido and Pa, signed by the author on title, light marginal browning, jacket with light creasing to head, 1986, first editions, illustrations by Pat Marriott, original boards, dust-jackets, near-fine copies; and another by the same, 8vo (3)⁂ A superb group from Aiken's acclaimed Wolves Chronicles including the first in the series, a rare title in good condition and a classic of 20th century children's literature.
Lot 275
NO RESERVE Mistry (Rohinton) A Fine Balance, 1996 § McEwan (Ian) The Cement Garden, jacket with light sunning to spine, 1978 § Barnes (Julian) Before She Met Me, jacket price-clipped, 1982, first editions, signed by the authors on titles, original boards, dust-jackets, some light creasing to head and foot, near-fine otherwise; and 2 others, both signed, 8vo (5)
Lot 280
Morrison (Toni) Beloved, first edition, signed presentation inscription from the author "To David, Toni Morrison" on half-title, light marginal toning on jacket edges, New York, 1987; Tar Baby, signed by the author on title, ownership name on endpaper covered with 'void' stamp, jacket price-clipped, 1981, original boards, dust-jackets; and a first English edition of Jazz by Morrison, 8vo (3)
Lot 410
NO RESERVE Wodehouse (P.G.) Spring Fever, first English edition, light spotting to fore-edge, otherwise internally clean, original cloth, fine, dust-jacket, neat and expert repairs along upper edge and corners, still in effect a near-fine copy, [McIlvaine A67b], 8vo, [1948].⁂ Rare in this condition.
Lot 295
O'Donnell (Elliott) Confessions of a Ghost-Hunter, first edition, ink ownership name to front free endpapers, light spotting to first few pages, cloth lightly soiled, extremities a little scuffed, 1928 § Benson (Robert) The Light Invisible, second impression, cloth extremities lightly bumped and scuffed, 1903; and 11 others, ghost stories and haunted tales, 8vo & 4to (13)
Lot 243
Literary Magazines.- The Wide World Magazine, vol.1, issue 1, light rubbing and discolouration to spine, April 1898 § Middleton Murry (John, editor) The Adelphi, vol.1, issue 1, spine a little creased and chipped, June 1923 § Jerome (Jerome K.) and Robert Barr. The Idler, vol.1, issue 1, rust-staining on binding staples, spine chipped and browned, April 1892, illustrations, original wrappers, light creasing; and 2 other first issues of literary magazines, including The Listener, 1929 and The Cornhill Magazine, 1860, 4to & 8vo (5)⁂ A very good collection of literary magazines, containing many notable contributions. Includes the first serialisations of Anthony Trollope's Framley Parsonage, 1860, in The Cornhill Magazine; an early contribution from Mark Twain for the serialisation of The American Claimant, 1892 in The Idler; and an article entitled 'How the North Pole Will be Reached' by Fridtjof Nansen in The Wide World Magazine, 1898.
Lot 339
NO RESERVE Sassoon (Siegfried) The Heart's Journey, one of 590 copies, signed by the author on title, other gift inscription on title, bookplate to pastedown, original boards, dust-jacket, torn along joints, light chips to extremities, light surface soiling, 1927; Memoirs of a Fox-Hunting Man, first illustrated edition, endpapers browned, original cloth, spine ends bumped, dust-jacket, front flap replaced with paper, other paper repairs verso, tears and nicks to extremities, lightly toned, 1929; and 3 others by the same, 4to & 8vo (5)
Lot 213
A Tiffany studios patinated gilt bronze lamp base 540Fitted with two light fittings, the base with applied tablet stamped TIFFANY STUDIOS NEW YORK 540, together with a later replacement shade, the base 21cm wide, 21cm deep, 33cm high (8in wide, 8in deep, 12 1/2in high)For further information on this lot please visit Bonhams.com
Lot 103
A Collection of SilverVarious dates and makers Comprising two silver teapots, an easel mirror, 34 cm high, an Indian silver cigarette box, two George III silver-mounted toilet jars, a Victorian table light lighter in the form of a trumpet, London, 1891, a cream jug, pair of dwarf candlesticks and two cigarette cases 64 oz weighable silver .For further information on this lot please visit Bonhams.com
Lot 320
Geoffrey Doonan (British, b.1928) Medium Bud Vase Of ovoid abstract form in stoneware, with light brown glaze, initialled 'G.D', 20cm high, 15cm diameter. This lot is subject to the following lot symbols: AR AR Goods subject to Artists Resale Right Additional Premium. For further information on this lot please visit Bonhams.com
Lot 312
A Baluster WineglassCirca 1725Of dark tint, the bell-shaped bowl on a baluster stem with beaded knop, on folded foot, 16.7cm high, a light baluster glass, the plain stem with two knops, on a folded foot 17.8cm high, and two further glasses with plain stems and folded feet (4)For further information on this lot please visit Bonhams.com
Lot 182
A Highland Light Infantry Officer's dirketched Henry Wilkinson, Pall Mall With double fuller and faceted back edge, the blade etched with scrolls, regimental title and battle honours etched to the recasso 'Henry Wilkinson Pall Mall, London' the carved wood basket weave hilt set with brass studs, the pommel set with a cut glass 'stone' contained within its leather covered scabbard with gilt-brass mounts embossed with thistles, the locket applied with the regimental badge, bi-knife and fork mounted en suite,28 cm. blade, together with two collar dogs, one bronze and one bi-metal, (3).For further information on this lot please visit Bonhams.com
Lot 114
Lill Tschudi (Swiss, 1911-2004)Jeu de Boules (Coppel LT 38) Linocut printed in green, dark brown and light reddish brown, 1934, on mulberry paper, signed and numbered 39/50 in pencil, annotated 'Boccia, Jeu de Boules, Hand print' in pencil in the lower margin, framed; together with a preparatory drawing in pencil, gouache and watercolour with colouring instructions in pencil, circa 1934, on sketchbook wove paper, with the mirror image heavily outlined in pencil verso Block 230 x 330mm (9 1/8 x 13in)Sheet 303 x 380mm (11 7/8 x 15in) (2)For further information on this lot please visit Bonhams.com
Lot 57
Claude Flight (British, 1881-1955)Lawn Mowing (Coppel CF 39) Linocut printed in cobalt blue, olive green, and light purple, circa 1931, on oriental laid paper, signed and numbered 6/50 in pencil, framedBlock 305 x 255mm (13 3/4 x 10in)Sheet 374 x 287mm (14 3/4 x 11 1/4in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 124
Lill Tschudi (Swiss, 1911-2004)Sailors' Holiday (Coppel LT 24) Linocut printed in dark blue, light brown and light blue, 1932, on tissue thin oriental laid paper, signed and numbered 15/50 in pencil, titled in pencil in the lower margin, framedBlock 200 x 260mm (7 7/8 x 10 1/4in)Sheet 228 x 293mm (9 x 11 1/2in)For further information on this lot please visit Bonhams.com
Lot 131
Lill Tschudi (Swiss, 1911-2004)The Flirt (Coppel LT 14) Linocut printed in light burnt sienna, mauve and yellow, 1930, on thin oriental laid paper, signed, annotated 'Meine Schwester' and numbered 12/50 in pencil, framedBlock 180 x 155mm (7 1/8 x 6 1/8in)Sheet 257 x 192mm (10 1/8 x 7 1/2in)Footnotes:This is a portrait of the artist's sister Adry Tschudi.The planned edition was 50 but it was not completed, and it is unknown how many impressions were printed.For further information on this lot please visit Bonhams.com
Lot 62
Cyril Edward Power (British, 1872-1951)The Concerto (Coppel CEP 43) Linocut printed in light yellow, orange, light blue, dark blue, circa 1935, a strong impression, on tissue thin oriental laid paper, signed, titled and numbered 39/60 in pencil, framedBlock 326 x 300mm (12 7/8 x 11 7/8in) Sheet 391 x 330mm (15 3/8 x 13in)For further information on this lot please visit Bonhams.com
Lot 76
Cyril Edward Power (British, 1872-1951)Skaters (Coppel CEP 29) Linocut printed in spectrum red, light cobalt blue and viridian, circa 1932, a good, strong impression, on tissue thin oriental laid paper, signed and titled in pencil, a proof aside from the edition of 60, framedBlock 198 x 316mm (7 3/4 x 12 3/8in)Sheet 222 x 386mm (8 3/4 x 15 1/4in)Footnotes:The 1920s and 1930s were the heyday for figure skating, popularized by the glamorous World Champion Norwegian skater Sonja Henie. She incorporated ballet movements into her routines, which was certainly an inspiration for Power in producing this image of three graceful skaters. Power perfectly balances the composition, using sinuous lines to show the graceful dancer-like qualities of the figures and sweeping diagonals and curves to indicate their movement.Power experimented a lot with this linocut to ensure the colours were correct. He noted that the red should not be too heavy as this could seep into the green or blue areas when the sheet was rubbed. Printing was done by rubbing the paper with a burnishing spoon, or with the fingers for particularly intricate areas and Power made a note to print the green over the red last to avoid the colour spreading. This impression is evidence of his care and attention during the printing process.For further information on this lot please visit Bonhams.com
Lot 72
Cyril Edward Power (British, 1872-1951)Air Raid (Coppel CEP 42) Linocut printed in red, light cobalt blue, grey and dark blue, circa 1935, a fine, rare and vibrant impression, on tissue thin oriental paper, signed, titled and numbered 18/60 in pencil, further titled and signed in capitals in the lower margin, framedBlock 312 x 295mm (12 3/8 x 11 5/8in)Sheet 385 x 335mm (15 1/8 x 13 1/8in)Footnotes:This dynamic image was inspired by the aerial dogfights of the First World War when Power served in the Royal Flying Corps, supervising the workshops at Lympne Aerodrome in Kent. Power captures the intensity of the sortie by cropping into the image and placing the viewer right in the middle of the action. The sweeping curvilinear dissecting lines and saturated colours give a strong sense of movement and convey the thrill and danger of aerial combat.We have not found any previous auction records for this work.For further information on this lot please visit Bonhams.com
Lot 70
Cyril Edward Power (British, 1872-1951)The Giant Racer (Coppel CEP 15) Linocut printed in viridian, light cobalt blue, spectrum red and dark blue, circa 1930, a good impression, on tissue thin oriental laid tissue, signed, titled and numbered 2/50 in pencil, framedBlock 276 x 192mm (10 7/8 x 7 5/8in)Sheet 319 x 252mm (12 1/2 x 9 7/8in)For further information on this lot please visit Bonhams.com
Lot 113
Lill Tschudi (Swiss, 1911-2004)Chinese Jugglers (Coppel LT 36) Linocut printed in viridian, yellow ochre, and light brownish purple, 1934, on tissue thin oriental laid paper, signed, titled in French, annotated 'Hand print' and numbered 14/50 in pencil, one of a few colour variants within the edition as noted by Coppel, framedBlock 230 x 331mm (9 1/8 x 13in)Sheet 254 x 366mm (10 x 14 3/8in)For further information on this lot please visit Bonhams.com
Lot 119
Lill Tschudi (Swiss, 1911-2004)Fixing the Wires (Coppel LT 26) Linocut printed in black, greyish beige and light blue, 1932, a richly inked impression, on tissue thin oriental laid paper, signed, numbered 5/50 and annotated 'U.S.A.' in pencil, further signed, titled and annotated 'Col. Lino £2/2' in the lower margin, from the second edition created for the United States in 1937 (there was also a UK edition of 50), framedBlock 302 x 202mm (11 7/8 x 8in)Sheet 348 x 233mm (13 5/8 x 9 1/8in)Footnotes:This is one of Tschudi's best known works, much admired for its accomplished execution and complex composition, the more impressive as it was produced when the artist was just 20. Flight was so impressed that he included the work in his lino-cutting manual in 1934 to illustrate perfectly balanced form and colour.'The most important point to consider..is the arrangement whereby each colour block is considered a space-filling whole, a well as part of the final composition made up of the superimposition of all the colour harmonies.'For further information on this lot please visit Bonhams.com
Lot 79
Cyril Edward Power (British, 1872-1951)The Tube Train (Coppel CEP 41) Linocut printed in yellow, red, light cobalt blue and dark blue, circa 1934, a strong and vibrant impression, on tissue thin oriental laid paper, signed, titled and numbered 17/60 in pencil, also signed and titled in capitals in pencil in the lower margin, framedBlock 310 x 318mm (12 x 12 1/2in)Sheet 375 x 382mm (14 3/4 x 15in)Footnotes:In this image Power celebrates the efficient underground system transporting passengers in modern well-lit carriages which travel at speed, as suggested by the tilt of the carriage and swinging strap-handles. He also conveys a sense of the anonymous and somewhat isolating nature of the daily commute, where passengers are packed into a confined space but do not interact with each other, emphasized by the rows of the newspapers and faces in profile.For further information on this lot please visit Bonhams.com
Lot 61
Cyril Edward Power (British, 1872-1951)The Trio (Coppel CEP 44) Linocut printed in light yellow-orange ochre, red, light cobalt blue, viridian and dark blue, circa 1936, a richly inked impression, on tissue thin oriental laid paper, signed and titled in pencil, one of only a few impressions, the edition is unknown, framedBlock 248 x 190mm (9 3/4 x 7 1/2in)Sheet 302 x 222mm (11 7/8 x 8 3/4in)Footnotes:Both Power and his fellow artist and Grosvenor School co-founder, Sybil Andrews, were accomplished musicians and Power celebrates their artistic talents here by placing himself at the harpsichord, Sybil Andrews on the viola da gamba and their friend, Max Champion, on the treble recorder. The Grosvenor School artists usually produced images of anonymous figures, representative of certain types, so it is unusual for the artist to produce an image of identifiable people, including himself.The tight composition creates an intimate atmosphere where the viewer becomes part of the audience. The strong diagonal lines and bold colours suggest the energy involved in this musical session.Coppel notes that the edition is unknown. It appears that an edition of 60 was intended, with an impression numbered 4/60 appearing at auction in 2006 and an experimental proof sold at Bonhams in 2018.For further information on this lot please visit Bonhams.com
Lot 115
Lill Tschudi (Swiss, 1911-2004)Visiting Day (Coppel LT 53) Linocut printed in dark blue, yellow, light brown and viridian, 1937, on thin mulberry paper, signed, annotated 'Handdruck' and numbered 15/50 in pencil, further signed, numbered, and annotated in pencil in the lower margin, framedBlock 300 x 250mm (11 3/4 x 9 7/8in)Sheet 350 x 280mm (13 3/4 x 11in)For further information on this lot please visit Bonhams.com
Lot 2
A 14ct diamond ring, the wide tapering band set with a row of small round brilliant cut diamonds, with a row of tapered baguette cut diamonds and a further row of small round brilliant cut diamonds, overall weight of diamonds estimated approx. 1.00cts, width approx. 12mm, all set in yellow metal with a plain band stamped both 14k and 585 with Sheffield assay mark, size N, 5.4gPerhaps in need of a light clean but overall diamonds are reasonably well matched but colour, clarity and quality do vary, particularly in the round brilliants. Light wear throughout.
Lot 10
An aquamarine and diamond ring, the mixed cut rectangular emerald, collet mounted with three small round brilliant cut diamonds to either side, with plain band stamped 925, size U, 4.2gCollet mounts show signs of wear and rubbed, further light wear to band. Would benefit from a thorough clean.
Lot 562
William Hurst Ashpitel (1776-1852) Design for Ormond Bridge, Dublin 1805, watercolour on paper, approx. 107cms high x 38cms wide (42" x 15"), framed. (1) * Over the centuries on the River Liffey, there have been several bridges built at Ormond Quay, at the point that links Winetavern Street to the South, with Chancery Place and the Four Courts to the North. In 1802, the humpback bridge designed by the Semple brothers in the mid-eighteenth century was swept away in a severe storm. A public competition was held to find an architect to design a replacement, and William Hurst Ashpitel of London was among those who entered the competition. His design won, as recorded in the inscription on this drawing: "Design for Ormond Bridge over the River Liffey, Dublin, submitted to the Corporation agreeably to public advertisement approv'd by them and honor'd with the premium of sixty guineas W. H. Ashpitel Architect 1805." Ashpitel's drawing shows an elevation of the proposed bridge as seen from the east. Painted in sepia ink and Indian ink washes, it is a fine example of architectural rendering, and an important document in Irish architectural history, particularly as the architects of Ormond Bridge (now named O'Donovan Rossa Bridge) have heretofore been identified only as George Knowles and James Savage. The bridge, as built, is still there today and is essentially the same structure shown in Ashpitel's prize-winning drawing. Consisting of a wide and gently cambered roadway over three elliptical arches, it is Neo-Classical in design. In the drawing, a barge, sails aloft, navigates underneath the bridge, demonstrating the ample space provided by its graceful arches, while carriages, carts and pedestrians cross overhead. The balustrades are fitted with iron lanterns, and the arches embellished with Greek fret patterns. The entrance colonnade to the Four Courts can be seen on the right. In the background can be seen a temporary bridge, erected to take traffic while the new bridge was being built. Although Ashpitel's drawing is dated 1805, the new bridge took almost a decade to build, and Knowles and Savage were the architects employed to oversee the works. It is at a point on the river close to the original Viking settlement of Dublin, and many archaeological finds came to light during the years of construction. Completed in 1813 it was formally opened two years later and was initially named Richmond Bridge, after the Viceroy. Great pride was taken in the fact that the central arch had a longer span than any bridge in London. There were a few changes made to Ashpitel's design. The fret patterning was omitted, and keystones carved with Riverine heads were added, but otherwise the bridge today is identical to the one depicted in his drawing. A pupil of Daniel Asher Alexander, William Hurst Ashpitel was an architect and surveyor who worked mainly in London. Having assisted Alexander in the design and building of the London docks, he was later a pupil of John Rennie the Elder, working on the Kennet and Avon canal, and also on the tunnel that ran underneath the city of Bath. After working in partnership with James Savage, Ashpitel, who was a member of the Surveyors' Club, set up his own practice in London. Working in both Classical and Gothic styles, he was involved in projects in Whitechapel and Hackney. Among the buildings he designed was a house for Sir Charles Talbot at Deepdene, in Surrey. Ashpitel's son Arthur was also an architect, and a noted writer on architecture. Dr. Peter Murray, 2023
Lot 760
Heaney (Seamus) Human Chain, 8vo, L. (Faber & Faber) 2010, First Edn., Signed, cloth & d.j.; Electric Light, 8vo, L. (Faber & Faber) 2001, First Edn., cloth and d.j.; New Selected Poems 1966 - 1987, 8vo L. (Faber & Faber) 1990, First Edn., cloth & d.j.; Aeneid Book V., 8vo, L. (Faber & Faber) 2016, cloth & d.j., all clean copies. (4)
Lot 563
Michael Angelo Hayes (1820-1877) A View of Sackville Street (1854), watercolour and ink on paper, approx. 49cms high x 67cms wide (19" x 26"), heightened with gouache, framed. (1) In 1854, Michael Angelo Hayes painted A View of Sackville Street, showing the Post Office, Nelson’s Pillar, and the palatial Mart of the Messrs. McSwiney and Co. The view shows Sackville Street (now O’Connell Street) with, on the right, the new department store ‘McSwiney, Delaney & Co’, due to open in May the following year. A business venture by George Delaney and Peter Paul McSwiney, some thirty years later it was re-named Clery & Co., but continued in business. In the mid 1860’s, when McSwiney was elected Lord Mayor of Dublin, Hayes, who was his brother-in-law, worked for him as secretary. He evidently regarded this watercolour as one of his finest and in 1888, a highly-finished watercolour entitled Sackville Street, Twenty-Five Years Ago, was shown at the Irish Exhibition in London--that painting is likely the version now in the National Gallery of Ireland. The present painting appears to be an earlier work by Hayes, and is full of the incidental detail he observed in the busy street, including a man in the foreground holding a sign, “Summer Goods - McSwiney Delaney & Co’. The pavements are crowded with people, dressed in the latest fashions, the men in top hats and the women wearing crinoline dresses. Horse-drawn omnibuses, carriages, jaunting cars and drays traverse the cobblestones. The painting is an important record of Dublin’s main thoroughfare in the mid-nineteenth century; today Nelson’s Pillar is no longer there, while Clery’s Department Store was destroyed in 1916 and rebuilt six years later. While it closed its doors in recent years, there are plans to renovate the building as offices and a hotel. Born in Waterford in 1820, Michael Angelo Hayes was given his first lessons in art by his father Edward Hayes (1797-1864), a portrait and equestrian painter. Around 1831, the family moved to Dublin, and having begun to exhibit at the Royal Hibernian Academy, aged seventeen, Hayes went on to specialise in equestrian and military subjects. He is perhaps best known for his illustrations Car-Driving in the South of Ireland in the Year 1836 which were published as aquatint prints by Ackerman. He painted many scenes of horse racing and hunting, including The Race for the Corinthian Cup at Punchestown (1854). In 1842 he was appointed “Military Painter-in-ordinary” to the Lord Lieutenant, and painted a watercolour of troops parading at Dublin Castle. He also depicted the Yorkshire Hussars in 1840, and The Charge of the 3rd King’s Own Light Dragoons at Moodkee, an engagement in 1845 during the First Sikh War. In 1846 he painted 16th Lancers Breaking the Square at Aliwal and nine years later, The Heavy Cavalry Charge at Balaclava. Hayes’s paintings were based on direct observation and he made a detailed study of equestrian anatomy, writing a paper in 1876 entitled The Delineation of Animals in Rapid Motion. He also painted early animations, called ‘phenakistoscopes’ of people dancing. In the late 1840’s Hayes was in London, where he became an Associate Member of the New Society of Painters in Water Colour. However most of his career was spent in Dublin; he became a member of the RHA in 1854, and was elected Secretary two years later, when George Petrie was President. The two men quarrelled and over the years following the Academy’s activities were marred by bitter disputes. Many of Hayes’s works were published as engravings and lithographs, including a series illustrating the ballad “Savourneen Deelish” (his sweet love). He died in 1877, having fallen into a water tank on the roof of his house and drowned. Dr. Peter Murray, 2023
Lot 747
Travel: Patterson (James Laird) Journal of a Tour in Egypt, Palestine, Syria and Greece: With Notes, and an Appendix on Ecclesiastical Subjects, 8vo Lond. (C. Dolman) 1852. First Edn., fold. litho frontis (stained) & 5 litho plts. (1 plan, 4 dble page), some wd. cut text illus. some light L.S. new spine, mor. label, Jerusalem cross in gilt on front cover. (1)
Lot 506
▴ Claudio Ciardi (Italian, b.1962) 'Portofino'signed 'Claudio Ciardi' l.l., inscribed with title and further signed by the artist verso, oil on canvas 100 x 150cmProvenance: The Collection of Sir Rod Stewart.Condition ReportOverall: 117 x 166.5cmLight rubbing to the top edge with very tiny loss to the centre of the top edge but appears to be in otherwise good condition. Well presented and ready to hang. Not examined under UV light, for a full report please contact the department.
Lot 84
A group of batik resist-dyed textiles, mid-late 20th century, Indonesian, one 103 x 260cm three approximately 107 x 190cm (4) Condition ReportCirebon Sarong Red Tumpal, hand drawn, 80's-90's, Light age stains on cream background. Fabric and colours strong and good.Lasem Sarong, hand drawn, 70's- 80's, very good condition, no visible holes or tears.Dermayon Cocohan, hand stamped, 70's- 80's, one hand darnings on beige part near the borders, otherwise fabric strong and colours good.Banyumasan Doves, hand drawn, 70's- 80's, few hand darnings and neglible repairs. Some light age stains, otherwise fabric strong and colours good.
Lot 283
A Regency-style brass occasional table or étagère,20th century, with three shelves set between tubular supports terminating in castors,32cm wide 32cm deep 72cm highCondition ReportOverall in good structural and cosmetic condition with light wear throughout. Some minor tarnish and discolouration to brass. Joints sound and solid. Castors wheel freely.
Lot 127
A pair of silk brocade curtains,early/mid-19th century, Italian, each handwoven in green and pale brown, lined and interlined, accompanied by Beckwith & Son invoice dated 7 April 1955,each pleated edge 128cm wide 212cm long (2)Condition ReportOverall the curtains are in very good condition. The lining is very thick and most likely blackout. The bottom edges are approx 234cm wide. Some imperfections to the stitches as to be expected. A few light marks. No unpeasant smells. Some light fading to areas.
Lot 510
▴ John Steven Dews (b.1949) ‘Hispania Leads at the Gybe Mark, Western Solent, 1912' signed 'J Steven Dews' l.l., and inscribed with title on the stretcher verso, oil on canvas 66.5 x 102cmProvenance: The Collection of Sir Rod Stewart;purchased by the above from Christies, 'British & European Art', 26 November 2020, lot 105.Condition ReportOverall: 86 x 121cmThere is a slight undulation to the canvas in the upper left corner but the work appears to be in otherwise good condition. Well presented and ready to hang. Not examined under UV light, for a full report please contact the department.
Lot 512
A George II-style carved pine pier table, 19th century and later, the associated rectangular giallo antico marble top, above a heavily carved frieze with a central winged putto mask, scrolls, shells and foliage, raised lion mask decorated cabriole supports, terminating in hairy-paw feet, 180cm wide 78cm deep 80cm high Provenance: The Collection of Sir Rod Stewart; purchased by the above from Sotheby's, 'Collections', 31 October 2018, lot 374. Condition ReportOverall the table is in good condition. No sign of woodworm upon inspection. Light wear to the marble top including a few scratches and a small repair/in-fill to the front left. A couple of small repairs to the frieze. Some splits, small losses and scuffs to the supports. Two feet with losses but pieces are present. The table is structurally stable and ready for use. See additional photos.
Lot 515
Italian School, 19th centuryVolumnia and Veturia pleading with Coriolanus to make peace with Romeen grisaille, oil on canvas 95 x 192cmProvenance: The Collection of Sir Rod Stewart;purchased by the above from C Mariani Antiques, San Francisco.Condition ReportOverall: 115cm x 215cmCraquelure. Surface dirt with scuffs, scratches and and abrasions. The canvas has been pierced in the upper centre to the left of the soldier on the right. There is a small indentation to the canvas above the helmet of the middle soldier. The canvas tension is slightly loose to the touch. Not examined under UV light, for a full report please contact the department.
Lot 526
▴ Laszlo Ritter (Hungarian, 1937-2003)A Riviera view signed 'Ritter' l.l., oil on canvas91 x 71cmProvenance: The Collection of Sir Rod Stewart.Condition ReportOverall: 110.5 x 90cmThe canvas tension is slightly loose to the touch but this is not evident when viewing the work from a distance. There is a light undulation to the top right corner but overall the work presents well and is ready to hang. Not examined under UV light, for a full report please contact the department.
Lot 128
An Empire glass and gilt-metal vase,early 19th century, French, the cylindrical green glass vase mounted with twin swan-neck handles, over classical scenes, and raised on four paw feet,23cm wide12cm deep27cm highCondition ReportSlight marks to the glass. Metal mounts misshapen to one side. Feet slightly misshapen. Light tarnish to gilt elements. Overall in good cosmetic condition for age. See additional photos.
Lot 195
A bronze reduction after Michaelangelo,'Bacchus', the drunken figure with a goblet and a bunch of grapes, with a faun behind, with foundry seal for 'J.B. Deposee',21cm wide18cm deep57cm highCondition ReportOverall in good conditions with only very light traces of age and wear. A few very small manufacturing imperfections. Wax residue to the candle holder. Some loss to patinated finish. See additional photos.
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