The Beatles. A fantastic collection of 12" albums. 'A Hard Days Night,' PCS 3058, some loss to rear of the sleeve, seam split, vg disc, 1964; With two others; 'Help!,' PMC 1255, good disc, good leave, 1968; With one other later re-press; 'St Peppers Lonley Heart Band,' PCS 7027, excellant disc, excellent sleeve with one card, black label, 1967; With one other; 'Rubber Soul,' PMC 1267, ex disc, edgeware to vg sleeve, 1965; With two others; 'With The Beatles,' PMC 1206, vg disc, some light soiling to vg sleeve, 1963; 'Let it Be,' PCS 7096, excellent disc, excellent sleeve, 1970; Plus one other; 'Abbey Road,' PCS 7088, Swedish release, light scuffs to vg disc, seam split to good sleeve, 1978; 'Beatles For Sale,' PCS 3062, reissue, vg disc, tape repair to gatefold, 1978; With three 'The Beatles/1967-1970' and two 'Oldies. A Collection of Beatles'. (20)A very good collection indeed.
We found 534297 price guide item(s) matching your search
There are 534297 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
534297 item(s)/page
Rock/Alt Rock/Blues and Experimental. Thirteen 12" albums. Black Sabbath. 'Live at Last,' BS001, edge ware to sleeve, very light scratches to an otherwise vg disc, 1980; Caroliner Rainbow Snake Tailed Waxwalker/Woodpatty The Chicken Climber. 'Smoke Tour for Lunation....,' BSR 1806, small nibbles to thin paper sleeve, vg disc, 2007; The Doors. 'Strange Days,' EKS 74014, scratches to good disc, edge ware to sleeve, 1967; Creedence Clearwater Revival. 'Willy and the Poor Boys,' Fantasy 8397, edge ware to sleeve, light scratches to g to vg disc, 1969; The Kinks. 'Sunny Afternoon,' MAL 716, good sleeve, vg disc, 1967; The Black Crowes. 'Hard to Handle,' DEFAP 10, shaped picture disc vg, 1991; With eight other albums including The The, Can't Stand the Rezillos, Eric Clapton, Santana, The Stranglers, and Donovan. (13)
The Beatles. Solo work George Harrison. 'All Things Must Pass,' STCH 3-639, three excellent discs, light spotting to the inside of gatefold, otherwise vg, lacks poster, 1970; Paul McCartney. 'Снова В СССР,' А60 00415 006, pressed in Moscow, vg to Ex disc, vg sleeve, 1988; Ringo Starr. 'Ringo,' PCTC-252, vg disc, edgeware and split to seem of gatefold, 1973; John Lennon. 'Imagine,' PAS 10004, excellent disc vg sleeve, 1971; With two of the same; 'Imagine,' music from the motion picture, PCSP 722, light scratches to vg disc, seem split to vg gatefold, 1988; George Harrison. 'George Harrison,' K 56562, vg to Ex disc, vg to Ex sleeve, 1979; With one other; John Lennon. 'Rock 'n' Roll,' PCS 7169, excellent disc, some light edgeware to sleeve, 1975. (12)
Folk/Trad/Folk Rock. Nine 12" albums. Michael Chapman. 'Fully Qualified Survivor,' SHVL 764, vg disc, small tear to vg sleeve, 1970; Everyone. 'Everyone,' CAS 11028, edgeware to gatefold, 1971; Jethro Toll. 'This Was,' ILP 985, light markings to vg disc, vg gatefold, 1968; Pentangle. 'Basket of Light,' TRA 205, vg disc, vg gatefold, 1969; Aynsley Dunbar Retaliation. 'Remains To Be heard,' LBS 83316, deep scratch to side 2, rubbed sleeve, 1970; With four others (9)
A scarce 'God Save The Queen' pink 7" single. The Sex Pistols. 'God Save the Queen,' AMS 7284, unofficial reproduction 7" of original GSTQ release, only 100 pressed in Pink coloured vinyl, 1977; The Sex Pistols. 'God Save the Queen,' VS181, first pressing, light scratches to good disc, nibbles and small tear to original sleeve, 1977. (2)
HMV Model 101 Portable Gramophone. Originally manufactured in 1926, the HMV 'Model 101' is equipped with the original No.4 soundbox. The gramophone also includes a tin of unused 'Columbia Soft Tone' needles and a single 78, Hal Munro; Good Golly Miss Molly/Don't (WB 278, 1958).Both the gramophone and the 78 are in good working order. There are light marks and some general wear from use throughout, however, we feel these are very minor and the gramophone is in good condition for its age.
Rock/Prog Rock/Pop. Forty 12" vinyls. Deep Purple. 'Deep Purple in Rock,' SHVL 777, vg disc, tape repair to seem of good sleeve, 1970; Frank Zappa. 'One Size Fits All,' K 59207, vg disc, edgeware to gatefold, 1975; Mike Heron. 'smiling Men With Bad Reputations,' ILPS 9146, vg disc, 1971; Barclay James Harvest. 'Once Again,' SHVL 788, Ex disc, Ex gatefold, 1971; Mike Bloomfield and Al Kooper. 'The Live Adventures of....,' S 66216, vg disc, vg gatefold, 1968; Nazareth. 'Malice in Wonderland,' TOPS 126, excellent disc and sleeve, 1980; The Beatles. 'Revolver,' PMC 7009, light scratches to good disc, some staining to sleeve, 1966; Jerry Lee Lewis. 'Live at The Star Club Hamburg', BL.7646, 1964. With Thrity two other 12" records. (40)A good collection.
A Leak Stereo amp and a BeoMaster. Leak Stereo 30 Plus (c.1969), two owners, untested; BeoMaster 1400M Tuner/Amplifier (1967-1970), one owner from new (c,1968), FM stereo, MW, LW & SW11 band with expander, slight 50 cycle background hum, connectors included. (2)The Leak has some minor light scratches to the wood casing, otherwise, both compartments have been kept in good condition. We have not been able to fully test the Leak and BeoMaster, however, they both power on with no signs of any issues.
James Holland RA (1799 – 1870) 'Venice after Rain', oil on board (tondo), signed and dated 1859 verso, with applied labels for Thos. Agnew & Sons and others, 24cm diameter, in an ornate giltwood frame, frame 41 x 41 cmDeceased EstateOverall in good condition. Possibly some re-touching in the sky evident under UV light.
Janet Ledger (b.1931) British, three children on a set of swings with the sea behind them and an industrial town far in the distance to the right, oil on panel, artist signature on the bottom left corner, dated 1980, 28.5 cm x 36 cm in a wooden frame.Very good condition. May benefit from cleaning. Frame also in good condition, requires light cleaning.
Boscoe Holder (1921-2007) Trinidad, 'Tie Dye Sarong', signed and dated 1993, oil on board, image 90 cm x 69 cm, frame 106 cm x 85 cm.Overall in good condition. Some small areas of paint loss (top left, bottom left and left of the sitter's neck). Surface and frame require light cleaning to remove dust
Fabian Perez (b.1967) Argentinian, Study for 'Sensual touch in the dark', signed, signed and inscribed verso, oil on canvas, 30.5 cm x 22.5 cm, frame 64.5 cm x 56.5 cm.Canvas in good condition. No certificates are included with this lot. Very slight wear to the edges of the frame, which requires light cleaning.
After Bartolomé Esteban Murillo (1618 - 1682), The Dice Players and The Little Fruitseller, oil on canvas, 41 x 32 cm, in ornate gilt frames, frames 52 x 43.5 cmQty: 2Previous craquelure has been professionally restored and areas retouched or overpainted particularly in the hair and clothing (see additional images under UV light). Canvases have been re-stretched on to probably the original frame. Frames look to be later with some repairs and slight losses.
A late 19th-century large French patinated bronze figure of Calliope, modelled with head slightly tilted, inscribing a tablet, seated on an integral plinth, inscribed 'Broquin et Laine Freres', 97 cm high.Artist not known. In good condition with no structural damage. Light surface scratches and marks visible on close inspection, especially around the base.
A Moorcroft Pomegranate design pedestal fruit bowl with Tudric pewter base, retailed by Liberty & Co, stamped marks numbered 01312, 25 cm diameter, 11 cm high, and a William Moorcroft Pomegranate design baluster vase, impressed marks and signature in green, 23 cm highNo visible damage or repair to the bowl, however it has a bit of a dull sound to it when tapped. There is a vertical scratch on the interior edge - doesn't feel like a hairline. Both with crazing visible on close inspection. The vase has a previous owner's address in invisible ink to the base, visible under UV light. Again, no apparent damage to the vase, but there is a flat sound to it when tapped.
Colin Hunter (1841 - 1904), Fishing boats on a coastline, signed and dated '82, oil on canvas, 37.5 x 55 cm, in a silvered frame and glazed, frame 44.5 x 62 cmVery good condition, no signs of damage or repair under UV light. The reverse of canvas also good and showing signs of age. Canvas in a later frame and glazed.
'Diamonds Are Forever', an original 1971 US film lobby poster for the James Bond film, United Artists Corporation, numbered 71/303, with 'GP' US film rating showing, 92 cm x 35.5 cm, laid flat and displayed with card backing in cellophane wrapping.Private collection (ex lot Sotheby’s – 18/09/1997)Some very small tears to the edges in places, and horizontal fold creases visibly. Colours appear good, with some light foxing to edges.
Fabian Perez (b.1967) Argentinian, 'Man in white suit V', numbered 82/195, hand embellished giclée print on canvas, certificate of authenticity, DeMontfort Fine Art, 59 cm x 74.5 cm, framed 82.5 cm x 98 cm.Good Condition. Surface and frame needs light cleaning to remove dust. Some slight wear to the corners of the frame. Certificate attached to the reverse of the frame.
Charles Joseph Grips (Belgian, 1825 – 1920) “Tending to her baby”, signed, oil on panel, 37cm x 29.5cm, in a giltwood frame, frame 53 x 46 cmRichard Green label verso (Stock no. Y277), Christie's London - 18th March 1994 - lot 20In good clean restored condition. Some slight overpainting evident under UV light, especially to the top right corner. Possible signs of previous craquelure. Possibly some re-gilding to the frame.
Fabian Perez (b. 1967) Argentinian, 'Waiting for the romance to come back II', numbered 18/195 and signed, hand embellished giclée print on canvas, certificate of authenticity, DeMontfort Fine Art, 50 cm x 75 cm, frame 73 cm x 98 cm.Good Condition. Surface needs light cleaning to remove dust. Some slight wear to the corners of the frame. Certificate attached to the reverse of the frame.
Charlie Turner, 'The Manhattan' contemporary oak 8-day longcase clock, in a cylindrical slatted case with light fitting below, the silvered chapter ring with blued metal hands and exposed Franz Hermle 791-880H movement striking on a bell, 187 cm highNot running at time of inspection, the clock has not been tested, overall appears to be in good condition.
Maruki Shachu sei; A large Japanese, Tokyo school mixed metal and patinated bronze Okimono of a falcon, Meiji period, late 19th century, with gilt metal and dark horn inset eyes on a gnarled tree peony trunk over an exposed root base. Bearing a foundry mark in raised seal form to the belly of the bird. 76 cm overall heightA private, deceased estateSome old repairs to some of the flowers, with possible missing small elements. The main branch appears as it was once originally longer, but has broken off. Some small 'twigs' have been broken in the past and repaired. No other major parts missing. Some light surface wear throughout, with spots of oxidization.
Fabien Perez (b.1967) Argentinian, ' Tess III', numbered 6/195 and signed, hand embellished giclée print on canvas, certificate of authenticity, DeMontfort Fine Art, 56 cm x 74.5cm, frame 79 cm x 98 cm.Good Condition, slight crease in the canvas on the right edge. Surface and frame needs light cleaning to remove dust. Very slight wear to the corners of the frame. Certificate attached to the back of the frame.
A 19th-century London twelve-inch japanned Zeotrope by the London Stereoscopic & Photographic Co, with a turned mahogany base, together with 46 picture strips including "Pair of Donkies, Jolly Dog, Fish & Fowl, Green Huntsmen, who's that knocking, baseball, light-headed, Indian leotard, Indian juggler, Jack in a box and others. 30 cm diameter x 36 cm overall height.
Fabian Perez (b. 1967) Argentinian, 'Study for untitled II' (gentleman with a glass of wine), numbered 9/150 and signed, embellished giclée print on canvas, no certificate of authenticity, 45 cm x 30.5 cm, frame 63.5 cm x 54 cm.Good Condition. Surface needs light cleaning to remove dust. Very slight wear to the corners of the frame. No certificate with this lot.
Nicolas Tournier, 1590 Montbéliard – um 1657 Toulouse GEFANGENNAHME CHRISTIÖl auf Leinwand. Doubliert.116 x 147 cm.In vergoldetem ornamental verziertem Rahmen.Maurizio Marini ist für die Zuschreibung an den genannten Künstler zu danken.Vor einer dunklen Hintergrundfolie die zentral caravaggesk beleuchtete Dreiviertelfigur Christi in einem weißen Schurz leicht nach rechts gerichtet. Die Gefangennahme (Matt. 26,47-52; Markus 14.43-47; Lukas 22,47-51; Johannes 18,1-11) wird unmittelbar vor dem Betrachter vollzogen; zwei Männer sind im Begriff, die Hände des Christus mit einem Strick zu binden, während sie von zwei Geharnischten am Bildrand beaufsichtigt werden. Durch Marini kann das hier vorliegende großformatige Gemälde auf die Jahre 1619-1626 datiert werden, also auf die Zeit, die Tournier nachweislich in Rom verbracht hat, wenngleich eine Chronologie mangels gesicherter datierter Werke dieser Zeit momentan nicht mit Gewissheit möglich ist.Anmerkung:Eine ähnliche Komposition Tourniers wird in den Musées Royaux des Beaux Arts de Belgique in Brüssel verwahrt. Auch eine Vertreibung der Händler aus dem Tempel kann hinsichtlich der hell erleuchteten Mittelfigur gut als Vergleich herangezogen werden, auch wenn diese Figur eben nicht Christus selbst ist, der links am Rand erscheint (Christie‘s, Rom, 7. April 1987, Lot 130).Bedeutender französischer Maler der Caravaggio-Nachfolge. Der italienische Stil des Malers erklärt sich aus seinem Aufenthalt zwischen 1619 und 1626 in Rom, woraufhin er nach Südfrankreich übersiedelte. 1627 hielt er sich in Carcassonne und ab 1632 in Toulouse auf. Neben Simon Vouet (1590-1649), Valentin de Boulogne (1594-1632) und Nicolas Régnier (1590-1667) gilt er als einer der führenden französischen Caravaggisten. Nach einigen Quellen soll er bei de Boulogne gelernt haben, außerdem ist er beeinflusst durch den Caravaggisten Bartolomeo Manfredi (um 1580-um 1620). Werke seiner Hand im Louvre, in Toulouse, im Prado sowie der Eremitage, aber auch in Museen der USA. Eine Ausstellung wurde dem Maler 2001 in Toulouse gewidmet.Literatur:V. Rossi, in: Light and Shadow, Caravaggism in Europe, Ausstellungskatalog, Lampronti Gallery, Rom 2015, Katalognummer 31, S. 88-89.Tra il Sacro e il Profano, Ausstellungskatalog durch Marcella di Martino, Lampronti Gallery, Januar 2020, Kat. Nr. 17, S. 42-43.Vgl. B. Nicholson, Caravaggism in Europe, Turin, II, 1979, S. 198, Nr. 630.Vgl. A. Brejon de Lavergnée, Pour Nicolas Tournier sur son Sejour Romain, Paragone, Nr. 287, Januar 1974, S. 44-55.Vgl. A. Brejon de Lavergnée, in: Valentin et les Caravagesques Francais, Ausstellungskatalog, Rom/ Paris 1974, S. 106-121.Vgl. Nicolas Tournier. 1590-1639. Un peintre caravagesque, Ausstellungskatalog, Musée des Augustins, Toulouse, 29. März-1. Juli 2001, Paris/ Toulouse 2001.Vgl. Pascal-François Bertrand et. al., Nicolas Tournier. Et la peinture caravagesque en Italie, en France et en Espagne, Tagungsband, Toulouse 2020. (1360555) (13) (†)Nicolas Tournier,1590 Montebéliard – ca. 1657 ToulouseTHE TAKING OF CHRISTOil on canvas. Relined.116 x 147 cm.Maurizio Marini is to be thanked for identifying the above-mentioned artist for the present painting.
Flämische Schule des 17. JahrhundertsPORTRAIT EINES EDELMANNESÖl auf Leinwand. Doubliert.75 x 59 cm.Rechts unten undeutlich signiert, unter UV-Licht sichtbar.In dunklem Rahmen.Brustbildnis eines Edelmannes mit Mühlsteinkragen im Halbprofil in Viertelwendung, der den Betrachter würdevoll anblickt. Seine dunkle Kleidung zeigt feine Ausarbeitungen, hebt sich jedoch kaum von dem dunklen Hintergrund ab. Das exakt ausgearbeitete Gesicht mit hellem Inkarnat in feinen Abstufungen wie auch der weiße, ausladende Mühlsteinkragen bilden hierzu einen Kontrast, der der Betonung der Physiognomie dient. In seinen Händen hält er eine Kugel, wohl als Zeichen seines Berufsstandes. Feine Malerei mit starkem Hell-Dunkel-Kontrast, der die Tiefenwirkung des Portraits verstärkt. (1370012) (19)Flemish School, 17th centuryPORTRAIT OF A GENTLEMAN Oil on canvas. Relined.75 x 59 cm.UV light reveals illegible signature lower right.
Louis Vuitton ÜberseekofferStehende Höhe: 113 cm. Breite: 66 cm, davon eine Seite 38 cm, die andere 28 cm. Tiefe: 55 cm.Louis Vuitton Monogramm außen, auf Schlössern sowie im Inneren.Um 1963.Großer prachtvoller Überseekoffer mit dem klassischen LV-Signet Aufdruck gestaltet, Lederapplikationen an den Kanten, mit Holzleisten sowie Messingbeschlägen und Nieten an den Schnallen und Ecken, zudem zwei seitliche Tragegriffe aus Leder mit geringen Handhabungsspuren. Das neuwertige Innere aus hellem Leder, teils mit Stoff, dazu 14 Kleiderbügel, sowie zwei weitere Bügel für Hosen/ Krawatten. Die Bügel allesamt mit dem Aufdruck „MADE IN FRANCE BY LOUIS VUITTON“. Dazu zwei Schlüssel mit dem Logo „LOUIS VUITTON“ und der Nr. 140283.Anmerkung:Laut Einlieferer wurde der Koffer nur einmal für eine Reise von Istanbul nach Peking benutzt. (1371141) (1) (18)Louis Vuitton steamer trunkStanding height: 113 cm. Width: 66 cm, of which one side 38 cm, the other 28 cm.Depth: 55 cm.Louis Vuitton monogram on outside, on locks and on inside. Ca. 1963Large, magnificent trunk designed with the classic LV signet imprint, leather trim on the edges, with wooden strips, brass fittings and rivets on the buckles and corners. Also two leather side handles with minor signs of wear. The like new interior is lined with light coloured leather, partly with fabric, plus 14 coat hangers and two more hangers for trousers/ties; the hangers all imprinted “MADE IN FRANCE BY LOUIS VUITTON”. With two keys with “LOUIS VUITTON” logo and no. 140283. Notes:According to the consignor, the case was only used once for a trip from Istanbul to Beijing.
William Crozier HRHA (1930 - 2011) Luxurious Garden Gouache on paper, 58 x 82cm (23 x 32½") SignedProvenance: With The Scottish Gallery, label versoFrom the early 1980s, William Crozier and his wife Katherine Crouan established a base in West Cork. London gallerist Angela Flowers was the vital link. She’d had a house in Rosscarbery for many years. They visited her there and when she launched a gallery offshoot her house, Flowers West, in 1985, she began with a solo show by Crozier. He and Katherine gradually spent more and more time in West Cork. He was inspired by the distinctive landscape, and he was exceptional in highlighting the unexpectedly bold, intense bursts of colour produced by displays of seasonal blooms, including montbretia and fuchsia, fields of crops and the glittering, shifting light reflected and enhanced by the water. It was all ideally suited to his gift for pictorial organisation, a gift sharpened by his time designing and painting theatre sets in 1950s Dublin.Born in Yoker, Glasgow to parents from Antrim, Crozier attached great importance to his Irish connections, though rather than encouraging a sense of Irish - or Scottish - identity, it set him firmly against insular notions of identity, and he saw himself as a European. After studying art in Glasgow he spent time in Paris and relished the bohemian, intellectual life of the Left Bank. Anthony Cronin became a good friend in Dublin and they spent time in Spain, another artistically formative experience. He found great success in London, though he seems eventually to have tired of a trend in his work towards expressive figuration. Without doubt, the connection with nature in Ireland revitalised his painting and printmaking, and the Irish art public, enraptured with his innovative take on the Irish landscape, took him to their hearts. The liveliness, sinuous patterning and buoyant colour of this “luxurious” Irish garden clearly evidence the delight he took in his newly discovered surroundings.Aidan Dunne, August 2023
Jack Butler Yeats RHA (1871-1957) On a Western Quay/ Sligo Quay (1923) Oil on panel, 23 x 35.5cm (9 x 14”) Signed Provenance: Sir Patrick Ford, London; With J. Leger & Son, Old Bond Street, London, November 1942 label verso; Sale, these rooms 16 March 1978, lot 114; Private Collection, Dublin.Exhibited: Dublin, Stephen’s Green Gallery, April/May 1923, Drawings and Pictures of Life in the West of Ireland, cat. no.24; New York, Society of Independent Artists, Annual Exhibition, March 1924; London, Tooth, Pictures of Irish Life, cat. no. 33; London, Leger Galleries, October 1942, London Group 4th Wartime Exhibition.Literature: Listener (6 April 1942); Hilary Pyle, A Catalogue Raisonné of The Oil Paintings, Andre Deutsch, 1992, cat. no. 193.Bounded by a spectacular West of Ireland landscape, a sailor leans against a wooden building, its planked construction giving a sense of structure and solidity to the right hand side of the painting. Its starkness makes the surrounding scenery appear even more fantastical. A high mountain dominates the vista with a large ascendancy house to its left. In the centre huddled along a causeway are a line of comparatively tiny cottages. Hilary Pyle has identified the location as Drumcliffe, the area north of Sligo town, under the shadow of Ben Bulben, where W. B. Yeats was later buried and where the Yeats’s paternal grandfather was once the clergyman.¹ The rugged shaped mountain has also been identified as Knocknarea, to the south of Sligo town, on a note on a label on the reverse. It is not possible to identify the specific location. Yeats seems to have exaggerated the details of the view for dramatic effect as he did in many of his later epic paintings such as On Through the Silent Lands (1951, Ulster Museum) and Two Travellers (1942, Tate Gallery), both of which feature similar glacial peaks. Here the juxtaposition of the large house and the sheer limestone cliff face of the mountainside convey a familiar congruence of manmade splendour and the more sublime beauty of nature as it exists in the West of Ireland. This, as in all Yeats’s work, is painted from memory and may combine different elements in the one composition. The details are probably gleaned partly from the perusal of earlier sketches. The man is dressed in a dark double breasted, marine style jacket and a peaked cap, like that of the pilot, a recurring figure in the work of Yeats. The pilot is based on Michel Gillen, who worked at Rosses Point when Yeats was a child living with his grandparents in Sligo. Gillen’s job was to guide merchant ships from Rosses Point along the Garavogue River to the quayside in Sligo town. The pilot’s job required great skill in navigation and sailing as well as a deep knowledge and understanding of the geography and conditions of the Garavogue and its environs. He appears in several of Yeats’s drawings and paintings, often in or near the Pilot House, a look-out hut, which was located on the headland at Rosses Point, and from where he could watch for the arrival of ships into the river mouth. In a contemporary work, Pilot Comes Ashore, (1923, Private Collection) the pilot stands on a quay in front of Knocknarea.² In Sligo Quay, he appears as an outsider in the depths of the countryside, his pose retaining a nautical stance. This solitary male figure in an expansive landscape that moves between water and mountain becomes a major theme in Yeats’s later work. Here the traveller is the pilot man who waits patiently for his boat to arrive rather than the nomads of the later work. He contemplates the incoming tide instead of the magnificent landlocked world beside him. The mixture of the building types in this space – the large colonial mansion and modest dwellings - denotes the complex history of rural Ireland. When the painting was made in 1923, the conflict generated by this past was raging throughout the land, and the solemn pose of the figure and the quiet calm of the view could be seen to reflect contemporary political and social tension. It shares the clarity of vision, psychological intensity, and rich colour with such other work of this period as the Island Funeral (1923, Model Sligo), Liffey Swim (1923, NGI) and Early Morning, Glasnevin (1923, Private Collection). The stone bollard on the quayside demarcates the foreground of the painting. Its solid form casts a shadow across the stone blocks of the quay, leading to the pilot. Touches of red in the sky suggest the slow dissent of the sun which casts its intense light on the gables of the houses and on the mountain cliffs in the distance, also heightened in red tones. Movement is conveyed by the blue turquoise torrent of the water and the cloud strewn sky above, a subtle indication of change and energy in the otherwise tranquil scene. The painting was exhibited in Dublin in 1923, at the Society of Independent Artists in New York in 1924, at the Goupil Gallery, London in 1925 and in the Leger Galleries in London in 1942. It belonged to the Scottish politician and art collector, Sir Patrick Ford for many years. Dr Róisín Kennedy (July 2023) H.Pyle, Jack B. Yeats, A Catalogue Raisonné of the Oil paintings, l, p.169H.Pyle, Jack B. Yeats, A Catalogue Raisonné of the Oil paintings, l, p.170
Norah OKelly RHA (b.1886 - unknown) Hermes Enamel Panels and metalwork on a stained timber shield, 67 x32 (26½ x 12½")With label verso inscribed with artist's name, details of class number from Dublin School of Art dated and 1912; and another hand written label 'By Norah M. O'Kelly under P. Oswald Reeves at Dublin School of Art'.We do not know much of Norah’s life or career except for small fragments of information that we can gain from the work itself. The labels on the back of enamel panel give us some more insight. Her full name was Norah Mary O’Kelly, she was a student in class 6019 in the Dublin School of Art and her profession is listed as ‘craftworker’. Presumably the panel was made during her time there as a student. It also lists her under the supervision of Percy Oswald Reeves, who was an enameller and metalworker from England who moved to Ireland in 1902 to work at the Dublin Metropolitan School of Art. He had studied under the famous British enameller Alexander Fisher. The School was very well known for its enamel and stained glass departments, which were both hugely popular art forms in Ireland. As a result the Irish Arts and Crafts movement flourished in the early part of the 20th century.Mythology and symbolism are key elements of the enamel and metalwork art of the period. As a medium it as often championed by women who excelled in this artform, elevating the individual and handmade objects. The central panel of this work depicts the Greek god Hermes, standing with his caduceus in one hand and with a satchel slung across his body. His head and feet are adorned with wings as he seems to float above the landscape behind him. The sky is filled with deep blue and turquoise tones, teeming with swimming fish and a majestic lion, while stars light up the background. It is mounted on a wooden shield shaped plaque, with scrolling vacant reserves that were possibly meant to be engraved with a title and the artist’s name or dedication if it was a private commission, but these are details that we can only speculate at.Historical records also prove invaluable in providing an insight into the specific connections between artists and cultural institutions of early 20th century. Dr Katy Milligan wrote an article[1] in 2016 examining the cultural losses connected to the 1916 rising and in particular the fire that destroyed the Royal Hibernian Academy’s original building on Abbey Street. The annual RHA exhibition was taking place at time the shell was fired from the British Navy yacht Helga, igniting a fire which engulfed the building and all 500 of the artworks on display along with the Academy’s collection of prints, books and other objects. Through her research into the claims made to the Property Losses (Ireland) Committee by the RHA and the artists to gain some compensation for loss of their artwork, Dr Milligan uncovered some fascinating details about artists, particularly female artists, whose work, and careers remain much a of mystery to us today.Norah O’Kelly is one of the artists mentioned in her text and we learn that she had four oil paintings in the RHA exhibition in 1916, all of which were of landscape views of India. Interestingly she was living there at the time as indicated by her father submitting the claim on her behalf. On it her address is listed as ‘Loreto House, & Middleton Row, Calcutta’, a school founded by Loreto sisters in 1840. We do not know why she was in India or how long she remained there. The 1911 census confirms she was an art teacher in her 20s, and she may possibly have been offered a teaching job in India. She had clearly moved in a different direction artistically from metalwork to producing oils and landscape works. This enamel panel is a wonderful example of her early practice and it is a rare opportunity to see it offered on the auction market.Niamh Corcoran, September 2023[1] Dr. Katy Milligan ‘A Closer Look at Inspiring Ireland 1916 Objects- The Cultural Cost of 1916: The Property Losses (Ireland) Committee and The Royal Hibernian Academy’ – Research Fellow at the ESB Centre for Study of Irish Art, at The National Gallery of Ireland
Loading...-
534297 item(s)/page